1 TRANSLATION TECHNIQUES ANALYSIS OF...

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1 TRANSLATION TECHNIQUES ANALYSIS OF MOANA’S

UTTERANCES IN “MOANA” MOVIE SUBTITLE

A THESIS

Submitted in partial fulfillment of the requirements

for the Degree of Sarjana Sastra (S.S) in English Language

By

INDRA SETIAWAN

C11.2010.01182

ENGLISH STUDY PROGRAM FACULTY OF HUMANITIES

UNIVERSITAS DIAN NUSWANTORO

SEMARANG

2017

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DECLARATION OF NON‐PLAGIARISM

I declare that all material in this thesis is my own work and does not involve plagiarism.

Semarang, October 16, 2017

Indra Setiawan

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STATEMENT OF PUBLICATION

I hereby grant Dian Nuswantoro University the right to display or copy any part of the

thesis, in all forms of media for reference purposes and legitimate educational purpose.

Any reproduction or use is prohibited without the written consent of Dian Nuswantoro

University.


Indra Setiawan

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ADVISOR’S APPROVAL

This thesis has been approved by the advisor on October 16, 2017 to be examined by the

board of examiners.

Advisor,

Dr. Raden Arief Nugroho, S.S., M.Hum.

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PAGE OF APPROVAL

Title of This

Announcers

: Translation Technique Analysis of Moana’s Utterances

in “Moana” Movie Subtitle

Name : Indra Setiawan

Registration

Number

: C11.2010.01182

This thesis has been approved by the board of examiners, English Study Program, Dian

Nuswantoro University on October, 2017

Board of Examiners,

Chairperson Secretary

Sunardi,S.S., M.Pd. Achmad Basari, S.S., M.Pd.

Examiner Advisor

Valentina Widya Suryaningtyas, S.S., M.Hum. Dr. Raden Arief Nugroho, S.S., M.Hum

Approved by:

Dean of Faculty of Humanities

Akhmad Saifudin, S.S., M.Si.

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MOTTO

“Only I can change my life. No one can do it for me”.

*~Carol Burnett~*

“In order success , we must first believe that we can”.

*~Nikos kazantzakis~*

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DEDICATION

I dedicate this thesis to :

1. Allah Subhanallahu wata’ala, thank you for all is my life.

2. My lovely family especially for my mom, my dad, my wife, and my son who have

always been pumping my spirit up to face the world, reminding me to set my eyes on

God and have faith.

3. All my friends who remind me with this thesis.

4. For everyone who loves and respects me.

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ACKNOWLEDGMENT

At this happiest moment, I wish a prayer to the Almighty who has blessed me during

the writing of this thesis. This thesis would not have been completed without the help and

support from many people. I would like, furthermore, to express my sincere thanks to:

1. Prof. Dr. Edi Noersasongko, M.Kom., The Rector of Dian Nuswantoro University, who

gave permission to me to conduct this study;

2. Akhmad Saifudin, S.S., M.Si, The Dean of Faculty of Humanities of Dian Nuswantoro

University, who has made a convenient environment in learning English;

3. Dr. Drs. Jumanto, M.Pd, Head of English Department of Strata 1 Program of

Humanities of Dian Nuswantoro University, who gave me permission to conduct this

research;

4. Dr. Raden Arief Nugroho, S.S., M.Hum, my advisor, for his continuous and valuable

guidance, advice and encouragement in completing this thesis;

5. All lecturers at the English Study Program of Faculty of Humanities of Dian

Nuswantoro University, who have taught, motivated, and given guidance during the

writing of this thesis;

6. The librarians of The Central Library of Dian Nuswantoro University for their

permission for me to use some valuable references in writing this thesis;

7. My beloved parents, Bambang Budiadi and Eny Bayu Winarni, who always love me,

support me, and pray for me. Thank you for always encouraging me and trusting me

to finish this thesis. Without both of you I am nothing. Thank you for your support and

all your wise advice for me, thanks for everything. I guess I never know how to pay all

of your sacrifice in return. I love you;

8. My lovely wife, Stephanie Gloria Ivananti Puspita, thank you for being always by my

side and becoming my greatest support;

9. My lovely son, Rafa Desta Ondrea, who always gave me spirit when I'm feeling very

tired, bored, and stress in completing this thesis;

10. My college bestfriends, M.G.I. Farizky, who always remind me the deadline of this

thesis, make me believe that I can finish it, accompany me, and solve many problems

together. Thank you for the the happiness we share in the college and thank you for

every memorable moment;

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11. The last but not the least, my friends of English Study Program of Dian Nuswantoro

University who I can not mention one by one for supporting me for my research.

Finally, I do realize that due to my limited ability this thesis must have shortcoming.

For this I welcome any suggestion and criticisms.


Indra Setiawan

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TABLE OF CONTENTS

PAGE OF TITLE ..................................................................................................................... i

DECLARATION OF NON‐PLAGIARISM .................................................................................. ii

STATEMENT OF PUBLICATION ........................................................................................... iii

ADVISOR’S APPROVAL ....................................................................................................... iv

PAGE OF APPROVAL ........................................................................................................... v

MOTTO.............................................................................................................................. vi

DEDICATION ..................................................................................................................... vii

ACKNOWLEDGMENT ....................................................................................................... viii

TABLE OF CONTENTS .......................................................................................................... x

LIST OF ABREVIATION ....................................................................................................... xii

LIST OF TABLE .................................................................................................................. xiii

LIST OF APPENDICES ........................................................................................................ xiv

ABSTRACT ........................................................................................................................ xv

CHAPTER I INTRODUCTION ................................................................................................. 1

1.1 Background of The Study ........................................................................................... 1

1.2 Statement of the Problem ......................................................................................... 3

1.3 Scope of the study ..................................................................................................... 4

1.4 Objectives of the study .............................................................................................. 4

1.5 Significance of the study ............................................................................................ 4

1.6 Thesis Organization ................................................................................................... 4

CHAPTER II REVIEW OF RELATED LITERATURE .................................................................... 6

2.1 Previous research ...................................................................................................... 6

2.2 Theoretical Review .................................................................................................... 7

2.2.1 Translation .......................................................................................................... 7

2.2.2 Translation Process ............................................................................................. 8

2.2.3 Subtitling ............................................................................................................. 9

2.2.4 Translation Techniques ..................................................................................... 10

CHAPTER III RESEARCH METHOD ...................................................................................... 13

3.1 Research Design ...................................................................................................... 13

3.2 Unit of Analysis........................................................................................................ 13

3.3 Source of Data ......................................................................................................... 13

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3.4 Technique of Data Collection ................................................................................... 14

3.5 Technique of Data Analysis ...................................................................................... 14

CHAPTER IV FINDING AND DISCUSSION ............................................................................ 17

4.1 Findings ................................................................................................................... 17

4.2 Discussions .............................................................................................................. 18

4.2.1 Established Equivalence .................................................................................... 19

4.2.2 Literal Translation ............................................................................................. 21

4.2.3 Borrowing ......................................................................................................... 23

4.2.4 Reduction .......................................................................................................... 24

4.2.5 Transposition .................................................................................................... 26

4.2.6 Compensation ................................................................................................... 27

4.2.7 Amplification ..................................................................................................... 29

4.2.8 Particularization ................................................................................................ 31

4.2.9 Generalization . ................................................................................................. 32

4.2.10 Discursive Creation .......................................................................................... 33

4.2.11 Linguistics Compression .................................................................................. 35

4.2.12 Adaptation ...................................................................................................... 36

4.2.13 Linguistics Amplification .................................................................................. 38

4.2.14 Substitution ..................................................................................................... 39

CHAPTER V CONCLUSION AND SUGGESTION .................................................................... 40

5.1 Conclusion ............................................................................................................... 40

5.2 Suggestion ............................................................................................................... 41

BIBLIOGRAPHY ................................................................................................................. 42

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LIST OF ABREVIATION

SL : Source Language

TL : Target Language

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LIST OF TABLE

Table 4. 1 Translation Techniques of Moana's Utterances in Moana Movie Subtitle...... 17

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LIST OF APPENDICES

Appendix. Moana’s Utterance in Moana Movie

Subtitle………………………………………………………………………………………………………………44

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ABSTRACT

Indra Setiawan. 2017. Translation Techniques Analysis of Moana’s Utterances in “Moana” Movie Subtitle. English Study Program. Dian Nuswantoro University. Advisor : Dr. Raden Arief Nugroho, S.S., M.Hum.

Keywords : Moana, Translation Techniques Subtitle.

This thesis is entitled “Translation Techniques Analysis of Moana’s Utterances in Moana Movie Subtitle”. This thesis aims to find the translation techniques of Moana’s utterances in Moana Movie Subtitle. The data is English in the source language and Indonesian the target language to be analyzed. This research used descriptive qualitative method in analyzing and describing the translation technique that are used in Moana’s utterances in Moana Movie Subtitle. The researcher analyzed the data by following many steps, first was selecting the data, second was identifying the data, third was classifying the data, fourth was describing the data, and last was drawing the conclusion. Based on the analysis, the researcher found 452 utterances of Moana’s utterances in Moana movie subtitle that contains 14 types of translation techniques. The result shows that there are 188 (41,59%) data that are translated by using Established Equivalence technique; 59 (13,05%) data that are translated by using Literal Translation technique; 54 (11,94%) data that are translated by using Borrowing technique; 52 (11,50%) data that are translated by using Reduction technique; 34 (7,52%) data that are translated by using Transposition technique; 22 (4,86%) data that are translated by using Compensation technique; 15 (3,31%) data that are translated by using Amplification technique; 9 (1,99%) data that are translated by using Particularization technique; 6 (1,32%) data that are translated by using Generalization technique; 4 (0,88%) data that are translated by using Discursive Creation technique; 3 (0,66%) data that are translated by using Linguistics Compression technique; 2 (0,44%) data that are translated by using Adaptation, Linguistics Amplification, Substitution technique.

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CHAPTER I”

INTRODUCTION”

1.1 Background of The Study

Globalization has made a direct impact on the development of translation studies.

As the world experiences faster communication and acceleratedmobility, translation

studies takes part as a bridge to avoid a communication gap (Nugroho, Raden Arief, et al.

(2016)).

Translation is the process of transferring the meaning and information from the

source language (SL) into the target language (TL). In this life, translation is very important

in cross-cultural exchange of ideas to be accepted. This translation, it can help people to

share any opinion in their lives. In the translation process is not as easy and simple as

people think, not only need a dictionary, but also requires an understanding of the

context of the source language (SL) to the target language (TL). The movie subtitle text is

one of the text to be translated.

In this globalisai era, the big demand for movies make adults and children love to

watch it. Film is one of the tools of media to inform the public through sound and moving

images, so that the audience can easily receive the message to be conveyed in this film.

To attract viewers, there are some genre films that have been produced by the Film

Industry. The problems faced by the translator only a small portion of people in the world

who is able to understand and can translate from English into the target language.

Subtitling aims to make the message of the film can be conveyed to the audience.

A very a lot of people in Indonesia who watch western films with subtitles in Indonesian.

Because it can help they are get the message of this movie. Gottlieb in Tira Nur Fitria

(2015) states "that subtitling is a rendering of a verbal message media filmic in different

languages, in the form of one or more lines of written text, presented on the screen. In

dealing with problems of translation, the translator assigned to play a role in overcoming

obstacles language between filmmaker and audience.

Translators is a people interpret the language of the source language (SL) to the

target language (TL). Hatim and Mason (1997: 1) states that the translator is a a good

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receiver and producer. The task of the translator is a to read and comprehend written text

(SL) and then transfer the meaning of the TL in written form. A good translator must be

able to translate between the source language (SL) with the target language (TL).

Translators must be careful because of cultural differences and a very important meaning

in translation. The translation will be misleading if the translator can not find the exact

meaning of the source language (SL) to the target language (TL). It can be concluded that

the translator must be skillful in translating the message without changing the destination

of the message. To anticipate the problems that arise when the process of translation, the

translator must be able to use the translation techniques in overcoming problems of

translation. For example, Ayu Putu phrase can be translated into putu ayu, that is a

traditional food, contains grated coconut and rice flour with brown sugar in it.

The research aims to find out the translation techniques of Moana’s utterances in

Moana Movie. This is a 2016 animation, adventure, comedy movie directed by Ron

Clements and John Musker and written by Ron Clements and John Musker. Moana movie

produced by Walt Disney Animation Studios and released by Walt Disney Pictures. Moana

movie is a girl who is a fan of sea voyaging and she was the only daughter of a long line

navigator captain. When the family needed his help, Moana on a journey. In this film also

will include a half-gods and spirits that taken from the real mythology.

Moana Animated Movie in 2016 tells the story of a girl named Moana (Auli'i

Cravalho) who want the adventure to sail the Pacific Ocean. The story flashes back three

thousand years ago, there was the most famous sailor in the world have traveled along

the Pacific Ocean to the south, and have found so many islands in the region, but after a

thousand years of stop voyage. And from there, why Moana want to sail. She also wants

to prove to his predecessor that Moana can also be like him. From there the young girl

went sailing and perform dangerous missions u, and this is done to complete the mission

of its predecessor yet astringent finish. When Moana was sailing, her met with Maui

(Dwayne Johnson). From that meeting they both agreed to jointly take a trip across the

ocean in order to finish an unfinished mission.

The film was chosen as the data because Moana movie is one animated film in five

other animated film nominated for an Oscar Awards 2017. This film is good recognized by

95% Rotten Tomatoes. Moana character who wakes up with a very good, well presented

without requiring lovely heart sturdy, making it different from the other Disney Princess

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movie. Moana adventure with Maui also feels good and interesting to watch. Moana has

combined quality, entertainment, and reach of mainstream. That's why researcher

interested to analyze Moana animated movie, especially in Moana utterances.

Moana’s utterances selected for analysis because Moana is the main character and

she is one of the characters mostly appear in the film. The researcher decided to analyze

the utterance translation techniques Moana for the data material thesis.

Translation technique of Molina and Albir’s theory was used as framework in

translating the source language (SL) into the target language (TL) of this study, because

the theory Molina and Albir is one popular theory and there are many researchers use this

framework in their study of translation techniques. Not only novel or another, but the

movie subtitles can also be translated using this translation techniques. In this study, the

translator uses various types of Mechanical translation is with the aim that viewers can

easily accept meaning in every utterance of the film, one of them is Substitution

technique. For example, in the source language "Moana attitude while protecting a little

turtle from a crow” was translated in the target language “Pergi, pergi!”. In the movie,

Shoo, shoo is described as the crow's expulsion. In the context of the movie, Moana is

saving a small turtle that will walk across from the shore to the sea. The translators

interpret "Moana attitude while protecting a little turtle from a crow” become “pergi,

pergi!” , because the message can be delivered to the audience and in accordance with

the target language. It means that is "Moana attitude while protecting a little turtle from

a crow” in Indonesian was translated is ‘pergi, pergi!’ (the animal’s expulsion).

1.2 Statement of the Problem

Based on the background of the study above, the problem of this study can be

stated as follows:

1. What translation techniques are used in Moana’s utterances in Moana Movie

Subtitle?

2. What translation technique is mostly used in Moana’s utterances in Moana Movie

Subtitle?

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1.3 Scope of the study

In this research, the researcher focuses on analyzing and identifying the translation

techniques based on Molina and Albir’s theory in the Subtitle Text of Moana movie

subtitle.

1.4 Objectives of the study

In line with the statement of the problem, the objectives of the study can be

summed up as follows:

1. To identify the translation techniques found in Moana’s utterances in Moana

Movie Subtitle.

2. To analyze the translation technique that is mostly used in Moana’s utterances in

Moana Movie Subtitle.

1.5 Significance of the study

This study hopefully gives valuable contribution in concerning a language learning

on translation program as they are belonging to:”

1. Future researchers

The results of this research hopefully give more knowledge about the analyses of

translation techniques in the subtitle text of the movie.

2. Dian Nuswantoro University especially the English Department Students.

The results of this research can give more knowledge about translation

techniques.

3. The readers

The results of this research are expected to make the readers more understand

about the translation techniques and to know the types of translation techniques.

1.6 Thesis Organization

This research is presented in five chapters with the following organization to make

it easy for the readers to understand the content, they are:

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Chapter I is Introduction which presents Background of the study, Statement of

the problem, Scope of the study, Objectives of the study, Significance of the study, and

Thesis Organization.

Chapter II is Review of Related Literature which consists of Previous Research,

Translation, Types of Translation, Translation process, and Translation Techniques.

Chapter III is Research Method which describes Research Design, Unit of Analysis,

Source of the Data, Technique of Data Collection, and Technique of Data Analysis.

Chapter IV is Data Analysis which covers the results of analysis and description

about translation techniques in translating The Subtitle Text of Moana movie.

Chapter V is Conclusion and Suggestion of the data analysis.

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3 CHAPTER II” REVIEW OF RELATED LITERATURE”

To make it easy to understand, the researcher used several theories in this chapter to

analyze the data. Theories it self is based on the field of translation that is very important

to support the analysis in this study. The literature review involved here include previous

research, tran slation, the process of translation, Subtitling and translation techniques.

2.1 Previous research

In order to support this research, there is a previous research taken from Arina

Khiranis (2015) entitled “Analysis Of Techniques Used In Translating Idioms From English

To Indonesia As Found In ALL AMERICAN GIRL Novel” her research focuses on analyzing

idioms from source language with the translation in target language. She applies the

theory of translation”techniques proposed by Vinay and Darbelnet which categorized in

two models; direct and oblique translation. Direct translation can be applied in borrowing,

calque, and literal translation. While, oblique translation can be applied in transposition,

modulation, equivalence, and adaptation. In her result shows that she only uses two

techniques in analyzing her data, they are modultion and transposition.

The strong point of this previous reseach is the researcher used Vinay and Darbelnet’s

theory as the framework in analyzing the translation technique. It is different from the

other reseacher in general because there are many reseachers used Molina and Albirs’s

theory as the framework in analyzing the translation technique. The weak points of this

previous research are, there is no explanation about the novel, the research is too thin

because there are only 13 sheet of page, the conclusion is not clear and there is no

suggestion.

The differences between the previous research and mine is the previous research

focuses on analyzing idiom using Vinay and Darbelnet’s theory. While mine is focuses in

every utterances of Molina using Molina and Albir’s theory. While, the similarities

between the previous research and mine is using translation technique as the topic of the

research.

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2.2 Theoretical Review

Review of related literature contains statements and theory related to this analysis.

To avoid duplication and plagiarism, the literature review is needed. The researcher found

some related researches and theories from some aspects such as translation and

translation techniques. The main theories used in this research is translation techniques

by Molina and Albir.

2.2.1 Translation

Based on Oxford Dictionary, translation is the process of translating words or text

from one language into another. Newmark (1988: 5), states “rendering the meaning of a

text into another language in the way that the author intended the text”. This definition

stresses on rendering meaning of the source language text into the target language text

as what is intended by the author.

There are many definitions of translation from experts. They define translation in

many ways.

Nida and Taber (1982: 12) define translation as “translating consists in reproducing

in the receptor language the closest natural equivalence of the source language

message”. Larson (1984:3) in Milka Chyntia (2013) defines that, “translations consist of

transferring the meaning of a language into the receptor language”. On the other hand,

Catford (1965) says “translation is an operation performed on languages, a process of

substituting a text in one language for a text in another”. Catford (1978) in Hartono

(2009:2) also similarly states “translation is the replacement of textual material in one

language (SL) by equivalent textual material in another language (TL)”.

From those definitions above, it can be said that translation is the process of

transferring message and thoughts, the process of translating words or text from one

language into another, from SL (source language) into TL (target language), and in the form

of written or spoken. For example, translating English into Bahasa Indonesia or Bahasa

Indonesia into English. In transferring the meaning of source language into target

language, it must be clearly. Because, the clear meaning can be understand by the

readers easily.

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2.2.2 Translation Process

The process of translation can be defined as the activity of translation. There is a

translation process which consists of some steps in doing of translating. According to

Nida and Taber (1974: 33), there are three stages in the process of translation, they

states as follows:

The second system of translation consist of a more elaborate procedure comprising three

stages: (1) analysis, in which the surface structure, i.e. message as given in language A is

analyzed in terms of the grammatical relationship and the meaning of the words and

combination of words. (2) Transfer, in which the analyzed material is transferred in the

mind of translator from language A to language B. And (3) restructuring, in which the

transferred material is restricted in order to make final message fully acceptable in the

receptor language.

Newmark (1988:19) defines that translation has four processes, as follows:

1. The Source Language Text Level

This level as known asks the level of language where the translator begins and which

he/she continually (but not continuously) go back to. At this level, a translator

transposes the SL grammar (clause and groups) into their TL ‘ready’ equivalents and

he/she translates the lexical units into the sense that appears immediately

appropriate in the context of the sentence.

2. The Referential Level

This level is the level objects and events, real or imaginary, which he/she

progressively has to visualize and build up. This level is an essential part, first of the

comprehension, then of reproduction process.

3. The Cohesive Level

This level is more general and grammatical which traces the train of thought, the

feeling tone (positive or negative) and the various presuppositions of the SL (Source

Language) text. This level encompasses both comprehension and reproduction. It

presents an overall picture, to which a translator may have to adjust the language

level.

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4. The Level of Naturalness

This level is only concerned with reproduction in which a common language

appropriate to the writer or speaker in a certain situation. In this level, the translator

has to ensure: (1) his translation makes sense; and (2) it reads naturally, that it is

written ordinary language, the common grammar, idioms and words that meet that

kind of situation.

2.2.3 Subtitling

Cowie (1997:161) states that subtitling is the process of providing synchronized

captions for film and television dialogue (and more recently for live opera). Meanwhile,

O’Connel (2007:169) states that subtitling is defined as supplementing the original voice

soundtrack by adding written text. From those definitions, it can be concluded that

subtitling is the process of transfering messages from the source languge (spoken

language) into target language in the form of write / text to be displayed simultaneously

at the time of the spoken language. Making a subtitle is not an easy task, because it is

limited by two factors, they are media factor and time factor. Media factor means that

the translated text will be displayed on the screen with a much narrower space than any

book or novel. While, Time factor means that the translator is faced with the difficulties

of the provisions appearing in the subtitling time. Gottlieb in Naomi Ventria (2009), states

that subtitles are displayed in the bottom of screen and in the middle position, first line is

consider of 40 characters and the second line is shorter than the first one, including of

space and punctuation. For one line, the minimum duration is 3 second and the

maximum duration is 5 second. While, For two line the duration is 7 second and the

maximum duration is 8 second. Based on O’Connel (2007:125), Subtitles exist in two

forms, they are:

1. Closed Subtitle, this type of subtitle is optional, means that the text of subtitle can be

turn on/off or selected by the viwers. This type is usually aimed to the people who

have the hearing disorders to got a information.

2. Open Subtitle, called as Open because the subtite text merges with the movie, so the

text cannot be turned off by the viewer. This type is used to translate the language of

the foreign movie that shown in cinemas or television with the original soundtrack.

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2.2.4 Translation Techniques

There are eighteen (18) translation techniques based on Molina and Albir’s

(2002:509) theory, such as adaptation, amplification, borrowing, calque,

compensation, description, discursive creation, establish equivalent, generalization,

linguistic amplification, linguistic compression, literal, modulation, particularization,

reduction, substitution, transposition, and variation. Those techniques are used to

transfer a message from SL (Source Language) into TL (Target Language) which is

applied in to words, phrase, clause, or sentence. There are eighteen types of

translation technique, such as:

1. Adaptation

It is a technique in process of translating use subject-predicate structure that

replaces the elements of the existing culture source language (SL) with elements

culture that are similar and there on the target language (TL). This can be done

because the source language culture elements not found in the target language, or

culture elements in the target language is more familiar to reader of the target. The

technique is the same as the equivalent culture techniques, e.g. : his leg felt like a

stone(SL) : tungkai kakinya seperti terpaku(TL), (yopi1987.blogspot.co.id).

2. Amplification

It is a technique in process of translating that use explication pharaphrasing, to

inform an implisit in source language (SL), e.g. : There are many Indonesian at the

ship(SL) : Banyak warga negara Indonesia di kapal itu(TL), (yopi1987.blogspot.co.id).

3. Borrowing

It is a translation technique done with borrowed words or phrase from source

language. the loan can be pure (pure borrowing) without adjustments or naturalized

lending (borrowing naturalized) with adjustments in spelling or pronounciation target

language official dictionary on the benchmark wheter the word or phrase is a loan or

not, e.g. : dispenser(SL) : dispenser(TL) (pure borrowing), music(SL) : musik(TL)

(borrowing naturalized), (ihsania.blog.uns.ac.id).

4. Calque

It is a calque means literal translation of a foreign word or phrase; it can be lexical

or structural. Lexical calques, e.g. : He is the new assistant manager(SL) : Dia adalah

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asisten manajer yang baru(TL), (ihsania.blog.uns.ac.id).

5. Compensation

It is a translation technique performed by transfering message from the other

parts of translation, e.g. : a pair of scissors(SL) : sebuah gunting(TL),

(linguistik-penerjemahan.blogspot.co.id).

6. Description

It is a translation technique performrd by replace a term or expression with a

description of its form or and function, e.g. I like panneton(SL) : Saya suka panneton,

kue tradisional Italia yang dimakan saat tahun baru(TL), (ihsania.blog.uns.ac.id).

7. Discursive creation

It is to establish a temporary equivalence that is totally unpredictable out of

context, e.g. : husband for a year(SL) : suami semesta(TL),


8. Established equivalence

It is to use a term or expression recognized (by dictionaries or language in use) as

an equivalence in the TL, e.g. : sincerely yours(SL) : hormat kami(TL),

(yopi1987.blogspot.co.id).

9. Generalization

It is a translation technique used the more common term in the target language

(TL) for source language (SL) more specific. This is done because the target language

has no specific counterpart. The technique is similar to the technique of acceptace,

e.g. : becak(SL) : vehicle(TL), (yopi1987.blogspot.co.id).

10. Linguistic Amplification

It is a translation technique which is used to add linguistic element. This is often

used in consecutive interpreting and dubbing, e.g. : everything is up to you!(SL) :

semuanya terserah anda sendiri!(TL), (yopi1987.blogspot.co.id).

11. Linguistic Compression

It is a translation which is used to synthesize linguistic element in the TT. This is

often used in simultaneous interpreting and in sub-titling, e.g. : are you sleepy?(SL) :

ngantuk?(TL), (ihsania.blog.uns.ac.id).

12. Literal translation

It is a translation technique which is used to translate a word or an expression

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word for word, e.g. : the President gave the present to Michael last week(SL) :

Presiden memberi hadiah itu pada Michael minggu lalu(TL), (ihsania.blog.uns.ac.id)..

13. Modulation

It is a translation technique which is used to change the point of view, focus or

cognitive category in relation to the ST ; it can be lexical or structural, e.g. : nobody

doesn’t like it(SL) : semua orang menyukainya(TL), (ihsania.blog.uns.ac.id).

14. Particularization

It is a translation technique which is used to use a more precise or concrete term,

e.g. : air transportation(SL) : pesawat(TL), (linguistik-penerjemahan.blogspot.co.id).

15. Reduction

It is a translation technique which is used to supress an SL information item in the

TL e.g. the month of fasting(SL) : Ramadhan(TL), (yopi1987.blogspot.co.id).

16. Subtitution (Linguistic, paralinguistic)

It is a translation technique which is used to change linguistic element for

paralinguistic element ( intonation, gestures) or vice versa, e.g. : to translate the Arab

gesture of putting your hand on your heart(SL) : Thank you(TL),


17. Transposition

It is a translation technique which is used to change a grammatical category, shift

from plural into singular in the target language, and singular in the plural. The shift

from active to passive tense and the passive to active in the target language. e.g. :

adept(SL) : sangat trampil(TL), (linguistik-penerjemahan.blogspot.co.id).

18. Variation

It is a translation technique which is used to change linguistic or paralinguistic

element (intonation, gestures) that affect aspects of linguistic variation: change of

textual tone, style, social dialect, 26 geographical dialect, e.g. : give it to me now!(SL) :

berikan barang itu ke gue sekarang!(TL), (yopi1987.blogspot.co.id).

13

4CHAPTER III” “RESEARCH METHOD”

This chapter presents how the researcher collected and analyzed the data. Research

method consists of research design, object of the research, unit of analysis, technique of

data collection, and technique of data analysis.

3.1 Research Design

This research used a descriptive qualitative method to identify and analyze

translation techniques in translating Moana’s Utterances in Moana movie. Marshall and

Rossman in Meivita Ika (2012) “Qualitative data analysis is a research for general

statements about relationship among categories of data. This research was carried out by

formulating the problem, collecting data, classifying data, analyzing data, and drawing the

conclusion and some suggestion.

3.2 Unit of Analysis

The unit of analysis of this research is every utterance of Moana found in Moana

movie. The source language is English and the target language is Indonesian.

3.3 Source of Data

The data of this research were taken from The Subtitle Text of Moana movie. The

movie was released on November 23, 2016. The movie was directed and written by

Ron Clements and John Musker. Moana movie is animation, adventure, comedy movie

American 2016 animated 3D musical fantasy adventure film produced by Walt Disney

Animation Studios.

The English subtitle script used in the research was downloaded from

https://subscene.com/subtitles/moana/english/1508453 and

https://subscene.com/subtitles/moana/indonesian/1505490. The subtitle was chosen

because that was synchronized to Blu-ray rip version.

https://subscene.com/subtitles/moana-movie/english%20/1157623

https://subscene.com/subtitles/moana/indonesian/1505490

14

3.4 Technique of Data Collection

The researcher collected the data by using the following steps:

1. Finding the data.

The reseacher found the data Moana movie in download. The english subtitle

was downloaded from https://subscene.com/subtitles/moana/english/1508453

and indonesian subtitle was downloaded

https://subscene.com/subtitles/moana/indonesian/1505490 to comprehend with

the Indonesian subtitle from the movie.

2. Watching Moana movie

This This step aimed to understand the content or message that was delivered

from the movie so it was easier for the researcher to select the subtitle that

contains translation technique.

Selecting the data from Moana’s utterances which were the translation

technique found in subtitles.

3.5 Technique of Data Analysis

After the data were collected, the researcher continued to analyze the data used

the following steps:

1. Identifying the translation”techniques of the data. Identifying in this research means

searching for and collecting the data of Moana’s utterances that found in the subtitle

text of Moana Movie, for example:

Tabel 3.1 Example of identifying the translation techniques

Source Language Target Language

Not the fronds. Bukan masalah daunnya.

And Te Fiti shared it with the world. Dan Te Fiti membaginya dengan dunia.

Moana attitude while protecting a little

turtle from a crow.

Pergi, pergi!

https://subscene.com/subtitles/moana-movie/english%20/1157623

https://subscene.com/subtitles/moana/indonesian/1505490

15

2. Classifying the types of translation techniques in every Moana’s utterances based on

Molina and Albir’s theory (2002:509), for example:

Tabel 3.2 Classifying the types of translation techniques

Source Language Target Language Translation

Technique

Not the fronds. Bukan masalah daunnya. Amplificaation

And Te Fiti shared it

with the world.

Dan Te Fiti membaginya

dengan dunia.

Borrowing

Moana attitude while

protecting a little turtle

from a crow.

Pergi, pergi! Substitution

3. Analyzing the translation technique that has been identifying and classifying, for

example as follows :

The first utterance is not the fronds in the source language was translated into

bukan masalah daunnya in the target language using the amplification technique. The

word masalah daunnya refers to the leaking roof of the house. The translator adds

the word masalah because in the context of the movie, Moana is climbing up to fix a

leaky roof and after Moana finished repaired the roof he comes down and says not

the fronds, and then Wind shifted the post. The word the fronds was translated into

masalah daunnya by translator, with the aim to simplify and clarify information

without altering the message of the word.

The second utterence is and Te Fiti shared it wth the world in the source

language was translated into dan Te Fiti membaginya dengan dunia in the target

language using the borrowing technique. The word Te Fiti was left un-translated

because Te Fiti is the name of Goddess at the story in the movie. The translator use of

pure borrowing because borrowing intact without making any changes. The word Te

Fiti is still used in the target language because it has no equivalent in the Indonesian

language. In the movie, Te Fiti described as a goddess of life and fertility lying in the

middle of the South Pacific Sea.

16

The third is Moana attitude while protecting a little turtle from a crow in the

source language was translated into pergi, pergi! in the target language using the

substitution technique. In the movie, Moana attitude while protecting a little turtle

from a crow. In the context of the movie, Moana is saving a small turtle that will walk

across from the shore to the sea. The translators interpret Moana attitude while

protecting a little turtle from a crow becomes pergi, pergi! , because the message can

be delivered to the audience and in accordance with the target language.

According to Gottlieb in Naomi Ventria (2009), states that subtitles are displayed

in the bottom of screen and in the middle position, the first line consists of 40

characters and the second line is shorter than the first one, including space and

punctuation. For one line, the minimum duration is 3 second and the maximum

duration is 5 seconds. While, for two lines the duration is 7 second and the maximum

duration is 8 seconds.

4. Drawing the conclusion according to the result as the last step of the research.

17

5CHAPTER IV” DATA ANALYSIS”

This chapter presents data analysis and answers to research problems. The object

of this study aims to be able to know the translation used in the Moana Movie.

4.1 Findings

Moana's remarks on Moana Movie are used as data from this research object. Two

data have been prepared by researcher in English version and Indonesian version. Based

on translation techniques from Molina and Albir (2002: 509), the researcher chose

Moana's utterances from two versions and classified the data. Moana's utterances

analysis results in Moana Movie are shown in Table 4.1 below

Table 4. 1 Translation Techniques of Moana's Utterances in Moana Movie Subtitle.

Table 4.1 proves that there are 452 Moana's utterances found in Moana Movie

Subtitle. The researcher have found 14 translation techniques in Moana's utterances in

Moana Movie Subtitle. The translation technique is 188 (41,59%) data that are translated

by using Established Equivalence technique; 59 (13,05%) data that are translated by using

Literal Translation technique; 54 (11,94%) data that are translated by using Borrowing

No Translation Techniques Data Percentage

1 Established Equivalence 188 41,59%

2 Literal Translation 59 13,05%

3 Borrowing 54 11,94%

4 Reduction 52 11,50%

5 Transposition 34 7,52%

6 Compensation 22 4,86%

7 Amplification 15 3,31%

8 Particularization 9 1,99%

9 Generalization 6 1,32%

10 Discursive Creation 4 0,88%

11 Linguistics Compression 3 0,66%

12 Adaptation 2 0.44%

13 Linguistics Amplification 2 0.44%

14 Substitution 2 0,44%

Total 452 100%

18

technique; 52 (11,50%) of the data that are translated by using Reduction technique; 34

(7,52%) data that are translated by using Transposition technique; 22 (4.86%) of the data

that are translated by using Compensation technique; 15 (3.31%) data that are translated

by using Amplification technique; 9 (1,99%) data that are translated by using

Particularization technique; 6 (1,32%) of the data that are translated by using

Generalization technique; 4 (0,88%) of the data that are translated by using Discursive

Creation technique; 3 (0,66%) data that are translated by using Linguistics Compression

technique; 2 (0.44%) of the data that are translated by using Adaptation, Linguistics

Amplification and Subtitution techniques.

The highest frequency used in Moana Movie Subtitle is a Established Equivalence

technique, because the translator translates the utterances by using a common equivalent

is to easier the audience in understanding the intent of subtitle in the film. It can be

concluded that the Established Equivalence technique is the most widely used translation

technique in translating Moana's Utterances found in Moana Movie. Translating the term

technique from the source language with terms that are already prevalent in the source

language will make the audience more readily accept or capture the text messages and

ideas that are conveyed in the film.

And then the lowest frequency used in Moana Movie was Adaptation, Linguistics

Amplification, and Substitution translation technique with percentage 0,44%. Adaptation

is a process of translation technique that replaces the distinctive cultural elements in the

source language with the existing culture in the target language. Linguistics Amplification

is a process of translation technique that adds linguistic elements of text from source

language in target language text. And last, Substitution is a process of translation

technique that replaces linguistic elements to be paralinguistic (like intonation and signal

or the other way).

4.2 Discussions

Based on the findings, there are 14 translation techniques used in translating

Moana's Utterances in Moana Movie. The discussion on translation techniques used by

Moana's Utterances in Moana Movie is as follows:

19

4.2.1 Established Equivalence

Established equivalence is the process of translating the term technique from the

source language with terms that are already prevalent in the source language.

Excerpt 1

SL : The windward side… (Utterance 35)

TL : Melawan angin…

Context in the quote in this film when the island of Motunui experiencing crisis, inside

coconut fruit to black rotting, fishing in the lagoon continues to decrease until it can not

fish. When a people asks for the opinion of Moana's father (village head), Moana

immediately gives advice to the people and says "The windward side". A people answered

"and the leeward side, the shallows, the channel" suggestion from Moana.

In the above utterance, the source language is translated in the target language using

the established equivalence translation technique. The established equivalence technique

is generally a term from a source language based on a daily or dictionary expression.

Moana's utterance "the windward side" of the source language translated become

"melawan angin" in the target language. Moana's words are translated by a common

equivalent by the translator.

Translator's purpose of translating by using a common equivalent is to facilitate the

audience in understanding the intent in the film.

Excerpt 2

SL : What is wrong with me… (Utterance 68)

TL : Ada apa dengan ku…

The context in the quote in this film is when Moana sings after being counseled of her

mother because after arguing with her father about sailing for fish over the reef. In the

song sung by Moana is about the intention of Moana who wanted to sail past the reef but

the intention was canceled because Moana wanted to start his role of being a leader in

the island of Motunui. But when Moana will lay a stone at the top of the heads, Moana

20

hesitates and says "what is wrong with me" and Moanapun does not lay the stone, Moana

descends from the head of the sacred heads and runs toward the shore to sail. Moana

and Pua end up sailing through the reef.



is generally a term from a source language based on a dictionary or based on a daily

expression.

Moana's utterance "what is wrong with me" from the source language translated

become "ada apa denganku" in the target language. Moana's words it’s translated using a

common equivalent according to the translator.

Translator's purpose of translating by using a common equivalent is to easier the


Excerpt 3

SL : Fixed! (Utterance 20)

TL : Beres!

Context in the quote in this movie there is a folk Motunui who after the storm must

be leaking roof when it rains. And that fix the roof is Moana, after finishing a leaky roof,

Moana said "fixed".




expression.

Moana's utterance "fixed" from the source language translates to "beres" in the

target language. Moana's words are translated using a common equivalent according to

the translator. If the translator uses a literal translation then the translation becomes less

precise.

The purpose of the translator translated with use a specific equivalent, whose

equivalent does not refer to the same part of the target language is to facilitate the


21

Excerpt 4

SL : But the voice inside sings a different song. (Utterance 67)

TL : Tapi suara hatiku menyanyikan lagu berbeda.



song sung by Moana is about the intentions of Moana who want to sail past the reef.

Inside the song there is a word says "but the voice inside sings a different song" by

Moana.




expression.

Moana's utterance "inside" from the source language "but the voice inside sings a

different song" translated become "hatiku" in the target language "tapi suara hatiku

menyanyikan lagu yang berbeda". Moana's words are translated using a common

equivalent according to the translator. If the translator uses a literal translation then the

translation becomes less precise.

4.2.2 Literal Translation

Literal translation is a process of translation technique that diverts a phrase from a

source language word-by-word into a target language.

Excerpt 1

SL : No matter how hard I try. (Utterance 47)

TL : Tak peduli seberapa keras ku mencoba.



22


Inside the song there is a word says " No matter how hard I try " by Moana.


the translation technique of literal translation. The literal translation technique is

translated word for word or its grammatical structure exactly between the source

language and the target language.

Moana's utterance "No matter how hard I try" from the source language are

translated word for word become "Tak peduli seberapa keras ku mencoba" in the target

language. The structure of the language is exactly the same between the source language

and the target language and that is why this translation technique includes literal

translation techniques.

Excerpt 2

SL : I said help me!. (Utterance 166)

TL : Kubilang tolong aku!.

The context in the quote in this film is the situation when Moana arrives on the island

where Maui is stranded, but Moana does not know. In that context, Moana is angry with

the ocean by saying " I said help me!". However when Moana knew that she reached the

island where Maui was stranded, Moana became groggy and hide with Heihei behind her

boat.


the translation technique of literal translation. The literal translation technique is

translated word for word or its grammatical structure exactly between the source

language and the target language.

Moana's utterance "I said help me!" from the source language are translated word for

word become "Kubilang tolong aku!" in the target language. The structure of the language

is exactly the same between the source language and the target language and that is why

this translation technique includes literal translation techniques.

23

4.2.3 Borrowing

Borrowing is a process of translation techniques that uses words or phrases from

the source language in the target language. Loaning technique without any change called

pure borrowing and naturalized borrowing is borrowing words from source language

tailored to the spelling of the target language.

Excerpt 1

SL : Pua! (Utterance 89)

TL : Pua!

The context in the quote in this film is the situation when Moana is trying to board a

boat with a Pua. The situation at that time, the boat that Moana climbed and Pua waves

and Pua fell from the boat, with spontaneous Moana shouted "Pua!". Then immediately

the boat rolled over and Moana fell into the sea water and dragged the waves. When

dragged by the waves, Moana's feet are clogged with rocks and spontan Moana strikes a

rock that clamps his feet with rocks near the rock. Moana, pua, and the boat were

dragged by the waves and back to the island of motunui, but the boat was damaged, the

Pua was traumatized, and Moana's right foot was injured.

In the above utterances, the source language is translated in the target language

using pure borrowing translation techniques. The word Pua in the source language is not

translated in the target language because Pua is the name of the pet pig or hog Moana.

The translator retains the word without changing the spelling and pronunciation because

it has no equivalent in the Indonesian language.

Excerpt 2

SL : Hey! (Utterance 313)

TL : Hei!

The context in the citation in this movie is the situation when Moana and Maui are in

Lalotai to grab the Maui hook Tamatoa takes. At that time Maui was trying to take his

hook but Maui lost and will be eaten by Tamatoa. Moana tries to draw attention from

24

Tamatoa, so Tamatoa does not eat Maui by calling her "Hey!" And shows Te Fiti's heart.

Tamatoa's eyes immediately focus on Te Fiti's heart and pursue Moana no longer ignoring

or eating Maui. As Moana ran after Tamatoa, Moana slipped and the imitation of Te Fiti's

heart made Moana fall. Tamatoa ran toward Te Fiti's imitation heart that fell from

Moana's grasp. Tamatoa seeks Te Fiti's imitation heart, then Moana grabs a Maui hook in

Tamatoa's shell and they are able to escape the threat of Tamatoa.


using naturalized borrowing translation techniques. The word hey in the source language

is translated naturally in the target language, since the word from the source language is

matched with the spelling of the target language.

4.2.4 Reduction

Reduction is a process of translation techniques that condenses the information

contained from the source language into the target language.

Excerpt 1

SL : And there’s a while ocean. (Utterance 38)

TL : Laut masih luas.

Context in the quote in this film when the island of Motunui had a crisis, in the

coconut to black rotting, fishing in the lagoon continues to decline until it can not fish.

When people asked Moana's father's opinion (village head), Moana immediately gave

advice to the community and said "and there’s a while ocean". Then Moana gives another

suggestion to the people and Moana's father disagrees with Moana's suggestion, until

Moana argues with her father.


the translation reduction technique. The reduction technique in general is the translation

that condenses the information contained in the source language into the target

language. Compress of information performed should not alter messages in the source

language text.

25

Moana's words "and there’s a while ocean" from the source language translated

"Laut masih luas" in the target language. Moana's words are translated into target

languages with compress information in the target language without changing the

message in the source language text.

The word "and" is equivalent conjunction (word - word, phrase - phrase, clause -

clause, sentence - sentence). It is a included in the regular conjuctive word. The writing of

word “and” at the beginning of the sentence is wrong because of the logic connector is

usually used for equivalent conjunction not to the first sentence.

The translator compresses information from the source language into the target

language to summarize the text without altering the message to be delivered to the

audience.

Excerpt 2

SL : They’re kinda cute. (Utterance 145)

TL : Mereka lucu.

The context in the quote in this film is when Moana and Maui in the middle of the sea

are approached by Kakamora. Moana says "They’re kinda cute". While Kakamora

approaches in Moana's canoe. Though Kakamora is a group of pirates who will plunder

Moana and Maui.


the translation reduction technique. The reduction technique in general is the translation

that condenses the information contained in the source language into the target

language. Compress of information performed should not alter messages in the source

language text.

Moana's utterance "They’re kinda cute" from the source language translated become

"Mereka lucu" in the target language. Moana's words are translated in the target

language with compress information in the target language without changing the message

in the source language text.

The word "kinda" is funny. “Kinda” is the same as cute, so if the word “kinda”

compressed by the translator does not change the massage in the sentence.

26

Translators compress information from the source language into the target language

in order to summarize the text without altering the message to be delivered to the

audience.

4.2.5 Transposition

Transposition is a process of translation technique that replaces the grammatical

category of the source language in the target language, like changing the word to phrase.

Excerpt 1

SL : I have no control over this condition. (Utterance 75)

TL : Aku tidak dapat mengendalikan kondisi ini.

The context in the quote in this film is when Moana's mother advises Moana and tells

something about Moana's father. After that Moana sings about herself doubts. In the

song, Moana said "I have no control over this condition".

In the above utterance, the source language is translated in the target language use

transposition translation techniques. Transposition techniques are generally used because

of the difference in grammar between the source language and the target language.

Moana's utterance "I have no control over this condition" from the source language

translated become "Aku tidak dapat mengendalikan kondisi ini" in the target language.

Moana's words are translated in the target language by replacing the grammatical

category of the source language in the target language. In this context the phrase from

the source language is converted into a word in the target language.

The translator replaces the grammatical category of the source language in the target

language, in this context the phrase from the source language is converted into a word in

the target language in order to summarize and simplify the message to be conveyed in the

film to the audience.

27

Excerpt 2

SL : Get up. (Utterance 324)

TL : Bangun.

The context in the excerpt in this film is when Moana and Maui were sailing to the

Lalotai. When Maui done tells the story of Nunya to Moana, Moana gives spirit to Maui

not to be sad. Moana said “get up” to Maui.


transposition translation techniques. Transposition techniques are generally used because

of the different structure language between sourch language wth target language.

Moana's utterance "get up" from the source language translated become "bangun” in

the target language. Moana's words are translated in the target language by replacing the

grammatical category of the source language in the target language. In this context the

phrase from the source language is converted into a word in the target language.

The translator replaces the grammatical category of the source language in the target

language, in this context the phrase from the source language is converted into a word in

the target language in order to summarize and simplify the message to be conveyed in the

film to the audience rence in grammar between the source language and the target

language.

4.2.6 Compensation

Compensation is a translation processing process that replaces the position of the

information element or the stylist effect of the source language on the other side of the

target language.

Excerpt 1

SL : What is your problem? (Utterance 204)

TL : Kau ini kenapa?

Context in the quote in this film when Moana is introducing himself and his aim

comes to pick up Maui. When Moana was showing Te Fiti's heart quickly Maui responded

28

by throwing Te Fiti's heart deep into the sea, but Te Fiti's heart was restored to Maui

again by the ocean. And when Maui was about to leave the Moana canoe by swimming in

the ocean, Maui suddenly returned back to the Moana canoe by the ocean. Maui looks

very scared of Te Fiti's heart for saying "that is not heart, it is a curse", and then Moana

said "what is your problem?".


using the compensation translation technique. The compensation technique of the source

language can not be realized in the same section of the target language because the

elements or elements of the culture do not have the same equivalent in the target

language and are replaced with another equivalent equivalent in the target language with

the source language.

Moana's said what is your problem? In the source language translated into kau ini

kenapa? In the target language. Why are you saying this? Is it the same as what is with

you ?. The translator uses your word why? Because equivalent equivalent to word what is

your problem? In that context is kau ini kenapa?.

If the word what is your problem? From source language literally translated into apa

masalahmu? by the translator, the meaning and intent in the film is less precise and the

audience becomes confused. Therefore the word what is your problem? In source

language translated into target language become kau ini kenapa? Because the audience

can easily understand and accept the intent and idea of the film.

Excerpt 2

SL : So, not seeing an entrance. (Utterance 287)

TL : Aku, tidak melihat ada pintu masuk.

The context in the quote in this movie is when Moana and Maui have arrived at

Lalotai wanting to take Maui's hook. They also ride the cliff Lalotai high enough. After they

arrived on the cliff of Lalotai, Moana said "so, not seeing an entrance" and Maui replied

"yes, because it only appears - after a human sacrifice - kidding". It turns out Maui is just

kidding. After Maui opened the door to Lalotai, they plunged into Lalotai.

29


the compensation translation technique. The compensation technique of the source

language can not be realized in the same section of the target language because the

elements or elements of the culture do not have the same equivalent in the target

language and are replaced with another equivalent equivalent in the target language with

the source language.

Moana’s utterance so in the source language translates to aku in the target language.

The word aku refers to the person himself. The translator uses the word aku because the

equivalent of the word so in that context is aku. So, not seeing an entrance (SL) become

aku, tidak melihat ada pintu masuk (TL).

If the word so, not seeing an entrance from the source language is translated literally

jadi, tidak melihat ada pintu masuk by the translator, then the meaning and intent in the

film is not quite right and the audience become confused. Therefore, the word so, not

seeing an entrance in the source language translated into the target language become

aku, tidak melihat ada pintu masuk because the audience can easily understand and

accept the intent and idea of the film.

4.2.7 Amplification

Amplification is a translation processing process that adds detailed information

that is not contained in the source language text.

Excerpt 1

SL : Not the fronds (Utterance 21)

TL : Bukan masalah daunnya

The context in the citation in this film is the situation when Moana is riding on a

house roof to check and repair the leaking roof of the house. After done fix the roof,

Moana came down and said "fixed! - not the fronds - wind shifted the post ".


using the translation amplification technique. Addition in this amplification technique is

only the information used to help the delivery of messages or comprehension to the

30

audience. The addition of this amplification technique should not change the existing


Moana's utterance not the fronds in the source language are translated to bukan

masalah daunnya in the target language. The word not the fronds refers to the roof of a

house made of dried leaves or fibers. And the roof of the house leaked. The word in the

source language not the fronds is translated into the target language is bukan masalah

daunnya by the translator. The translator adds the word in order to clarify the information

without altering the message contained in the word.

If the word not the fronds is translated literally to bukan daun itu by the translator,

then the meaning and intent in the film will not arrive at the audience and the audience

becomes incomprehensible. Therefore the word not the fronds in the source language is

translated into the target language is bukan masalah daunnya by the translator, so that

the audience can easily understand, understand and accept the intentions and ideas in

the film.

Excerpt 2

SL : Sometimes our strenghts lie beneath the surface. (Utterance 28)

TL : Kadang kekuatan kita berada dibalik tampilan luar.

The context in the quote in this movie is that an old man of Motunui folk is cooking

and Moana is approaching him, the person is astonished and judge Heihei is stupid

because Heihei is trying to eat the stone. Then the old man asks Moana for cooking

Heihei, but Moana defends Heihei by saying "Sometimes our strenghts lie beneath the

surface" and praising Heihei's superiority in addition to his eyes. Heihei survived and not

so in cooking.


using the translation amplification technique. Addition in this amplification technique is

only the information used to help the delivery of messages or comprehension to the

audience. The addition of this amplification technique should not change the existing


31

Moana's utterance “Sometimes our strenghts lie beneath the surface” in the source

language translates to “Kadang kekuatan kita berada dibalik tampilan luar” in the target

language.

If the word “Sometimes our strenghts lie beneath the surface” is literally

translated into “Terkadang kekuatan kita ada di bawah permukaan” by the translator,

then the meaning and intent in the film will not arrive at the audience and the audience

becomes unfamiliar. Therefore the word “Sometimes our strenghts lie beneath the

surface” in the source language is translated into the target language into “Kadang

kekuatan kita berada dibalik tampilan luar” by the translator, so that the audience can

easily understand and accept the intent and idea of the film.

4.2.8 Particularization

Particularization is a process of translation techniques that uses more concrete

and specific terms.

Excerpt 1

SL : Why are you acting weird? (Utterance 97)

TL : Kenapa nenek bertingkah aneh?

The context in the quote in this film is when Moana and Pua try to sail past the rock,

but it does not work and falls stranded back to Motunui. And Moana's grandmother

approaches Moana and blames Pua. When Moana wants to put a stone in the sacred hill

of the leaders, Moana's grandmother acts strangely and Moana asks "Why are you acting

weird?" to grandmother.

In the above utterances, the source language is translated into the target language by

using a particular translation technique. The particularization technique in general is a

translation that uses more concrete and specific terms. This technique is different from

generalization techniques.

Moana's "Why are you acting weird?" speech from the source language translates to

"Kenapa nenek bertingkah aneh?" in the target language. Moana's words are translated in

the target language by using more concrete and specific terms.

32

The translator uses more concrete and specific terms from the source language to the

target language to clarify the message the movie is trying to convey to the audience.

Excerpt 2

SL : What are you doing? (Utterance 121)

TL : Apa yang ayah lakukan?

The context in the quote in this film is when Moana's father will go to a cave where

there are many canoes and will burn him. Then Moana chases after her father and says

"What are you doing?".

In the above utterances, the source language is translated into the target language by

using a particular translation technique. The particularization technique in general is a

translation that uses more concrete and specific terms. This technique is different from

generalization techniques.

Moana's words "What are you doing?" from the source language translates into "Apa

yang ayah lakukan?" in the target language. Moana's words are translated in the target

language by using more concrete and specific terms.

The translator uses more concrete and specific terms from the source language to the

target language to clarify the message the movie is trying to convey to the audience.

4.2.9 Generalization .

Generalization is a process of translation technique of a term from a source

language with a term in a target language that is already common and widely know to the

public.

Excerpt 1

SL : That’s good pork! (Utterance 23)

TL : Babinya enak!

33

The context in the excerpt in this film is when Moana is riding on a roof of a house to

check and repair the leaking roof of the house. After finished fix the roof, Moana down

and taste the food in a bowl brought a people Motunui. After tasting the food, Moana

said "that's good pork".


the technique of generalization translation. Generalization techniques are used when a

term from a source language refers to a specific part, whose equivalent in the target

language does not refer to the same section.

Moana's utterance "that's good pork" from the source language translated become

"babinya enak" in the target language. Moana's words are translated in the target

language by using more concrete and specific terms.

Translators use more concrete and specific terms from the source language into the

target language in order to clarify the message that the film wants to convey to the

audience.

4.2.10 Discursive Creation

Discursive creation is a process of translation technique that uses a temporary

equivalent that is far from the original context.

Excerpt 1

SL : Oh, no… (Utterance 156)

TL : Astaga…

The context in the quote in this film is when Moana sailed to the island where Mauii

was stranded. Middleway through Moana's misdirected journey and says "Oh, no ..." and

Moana tries to turn the direction so as not to be misdirected but when Moana paddles to

reverse her canoe, Moana's canoe reverses. When Moana tries to reverse her canoe as

before, a sudden storm comes and drags Moana, Heihei, and her cannoe up onto a small

island where Maui is stranded.

34


discursive creation translation techniques. This discursive creation technique is often used

in translating titles of movie, books, and novels.

Moana's utterance “oh, no” from the source language is translated to astaga in the

target language. The word astaga in the context of the film is a picture of Moana's regret

because her canoe is misdirected. The word oh, no translated become astaga by

translator intended to create the text so as not to appear monotone and seen there is a

touch of creation. So the audience did not get bored while watching the movie.

Excerpt 2

SL : Go! (Utterance 289)

TL : Lompat!

The context in the quote in this movie is when Moana and Maui have arrived at

Lalotai wanting to take Maui's hook. They also ride the cliff Lalotai high enough. After they

arrived on the cliff of Lalotai, Moana said "so, not seeing an entrance" and Maui replied

"yes, because it only appears - after a human sacrifice - kidding". It turns out Maui is just

kidding. After Maui opened the door to Lalotai, Maui jump into Lalotai and then Moana

follow jump into Lalotai and say “Go!”.


discursive creation translation techniques. This discursive creation technique is often used

in translating titles of movie, books, and novels.

Moana's utterance “Go!” from the source language is translated to “Lompat!” in the

target language. The word “Lompat!” in the context of the film is a After Maui opened the

door to Lalotai, Maui jump into Lalotai and then Moana follow jump into Lalotai and say

“Go!”. The word “Go!” translated become “Lompat!” by translator intended to create the

text so as not to appear monotone and seen there is a touch of creation. So the audience

did not get bored while watching the movie.

35

4.2.11 Linguistics Compression

Linguistics compression is a process of translation techniques that unites or

collects linguistic elements of the source language text in the target language text.

Excerpt 1

SL : That’s right… (Utterance 12)

TL : Benar…

The context in the quote in this film is when Moana's father invites Moana to the

head of the sacred hill of the head, where Moana is told of his father about the history of

the chiefs and the people of Motunui. After done from the sacred hill of the head. Moana

and his father went back to Motunui village and they were song about the daily life of the

people on the island of Motunui. Inside the song Moana's dad said "the village believes in

us" and Moana respond "that's right".


the translation technique of linguistics compression. Linguistics compression techniques

are often used in interpreting or dubbing.

Moana's utterance "that's right" from the source language translated become

"benar" in the target language. Moana's words are translated with compress or unite

linguistic elements of the source language text in the target language text.

The translator compress or unite the linguistic elements of the source language text in

the target language text is to summarize and simplify the delivery of messages in the text

or subtitling of the film to the audience.

Excerpt 2

SL : It’s blinding. (Utterance 70)

TL : Menyilaukan.



36


Inside the song there is a word says "It’s blinding" by Moana.


the translation technique of linguistics compression. Linguistics compression techniques

are usually used in interpreting or dubbing.

Moana's utterance "It’s blinding" from the source language translated become

"Menyilaukan" in the target language. Moana's words are translated with compress or

unite linguistic elements of the source language text in the target language text.

The translator compress or unite the linguistic elements of the source language text in

the target language text is to summarize and simplify the delivery of messages in the text

or subtitling of the film to the audience.

4.2.12 Adaptation

Adaptation is a process of translation technique that replaces the distinctive

cultural elements in the source language with the existing culture in the target language.

Excerpt 1

SL : What if we fish beyond the reef ? (Utterance 36)

TL : Bagaimana jika melaut melewati karang ?

The context in the excerpt in this film shows that there is a dialogue between Moana

and a people. They told of a people who moaned at the village head (Moana's father)

about the fish traps in the empty lagoon and the fish catching had been reduced and

spontaneously Moana responded to the complaints of his people. And Moana advised his

people, but the village chief (father Moana) was angry and forbade all his people not to

sail past the rocks.


using the adaptation translation technique. Adaptation techniques can be used if the

elements or elements of the culture have an equivalent in the target language.

37

Moana utterancence fish in the source language translates to melaut in the target

language. The word melaut itself refers to the person who will or is sailing. The translator

uses the word sea because the equivalent of the word fish in the context is melaut.

If the word fish is literally translated into ikan by the translator, then the meaning and

intent in the film will not arrive at the audience and the audience becomes confused.

Therefore the word fish in the source language is translated into the target language

becomes melaut because the audience can easily understand and accept the intent and

idea of the film.

According to Gottlieb in Naomi Ventria (2009), states that subtitles are displayed at

the bottom of the screen and in the middle position, the first line consists of 40 characters

and the second line is shorter than the first, including spaces and punctuation. For one

line, the minimum duration is 3 seconds and the maximum duration is 5 seconds. As for

the two lines duration of 7 seconds and a maximum duration of 8 seconds. The word sea

is more appropriate to avoid subtitles that appear on the screen.

Excerpt 2

SL : I have crossed the horizon to find you… (Utterance 437)

TL : Aku melintasi cakrawala untuk menemukanmu…

The context in the quote in this movie is the situation when Moana know that Te Ka is

Te Fiti, Moana said to the ocean “let her come to me”. After that, Moana walking to Te Ka

and singing to Te Ka for return the heart of Te Fiti. Inside the song there is a first word

says "I have crossed the horizon to find you" by Moana.


using the adaptation translation technique. Adaptation techniques can be used if the

elements or elements of the culture have an equivalent in the target language.

Moana's utterance horizon in the source language translated to cakrawala in the

target language. The word cakrawala refers to limiter line between the heaven with the

ocean dan usually form of horizontal line. The translator using the word occurs because

an equal equivalent to the word horizon in the context is horizon.

38

If the word horizon translated literally become ufuk or kaki langit by the translator,

then the meaning and intent in the film will not arrive at audiences and audiences

become unfamiliar. Therefore the word horizon in the source language translated into the

target language becomes cakrawala because so the audience can easily understand and

accept the intent and idea of the film.

4.2.13 Linguistics Amplification

Linguistics amplification is a process of translation technique that adds linguistic

elements of text from source language in target language text.

Excerpt 1

SL : What? (Utterance 354)

TL : Ada apa?

The context in the excerpt in this movie is when Moana gives criticism and motivation

to Maui while in the canoe. Moana's purpose in criticizing, motivating, and passionately

on Maui is that Maui will help Moana restore the heart of Te Fiti that Maui stole 1000

years ago. And finally Maui agreed to restore Te Fiti's heart with Moana. And then Moana

said “what?”.


translation translation linguistics technique. Linguistics amplification techniques are often

used in interpreting or dubbing.

Moana's utterance "What?" from the source language translated become "Ada apa?"

in the target language. Moana's words are translated by adding linguistic elements of the

source language text in the target language text.

The translator adds linguistic elements of the source language text in the target

language text is to clarify and simplify the delivery of messages in the form of text or

subtitling of the film to the audience.

39

4.2.14 Substitution

Substitution is a process of translation technique that replaces linguistic elements

to be paralinguistic (like intonation and signal or the other way).

Excerpt 1

SL : (05:19)

TL : Pergi, pergi!

The context in the quote in this movie is when little Moana is protecting the turtle

little across from the shore to the sea. When it gets to the sea, suddenly there are two

ravens that will eat the turtle little, then little Moana protect the little turtle with Moana

attitude while protecting a little turtle from a crow.

In the above utterance, the source language is translated in the target language use

substitution translation techniques. Substitution techniques in general are translations

that replace linguistic elements to be paralinguistic (like intonation and signal).

Moana attitude while protecting a little turtle from a crow From the source language

translated become "pergi, pergi!" In the target language. Moana's attitude are translated

in the target language with replace the intonation and gestures of the Moana movement

with words into the target language text.

The translator replaces the intonation and movement gestures from the source

language into the target language in order to easier in digesting the message to be

conveyed in the film to the audience.

40

6 CHAPTER V CONCLUSION AND SUGGESTION

5.1 Conclusion

According to the data analysis conducted by the researcher, it can be concluded

that there are 452 (100%) of Moana's utterances in the Moana Movie subtitle that has

been analyzed using Molina's and Albir's translation technique. The conclusion is as

follows :

There are 14 translation techniques that have been invented by the researcher

and the technique was used translator to translate Moana's utterances in the subtitle

Moana Movie. 188 (41,59%) data are translated by using established equivalence, 59

(13,05%) data are translated by using literal translation technique, 54 (11,94%) data are

translated by using borrowing, 52 (11,50%) data are translated by using reduction

technique, 34 (7,52%) data are translated by using transposition technique, 22 (4,86%)

data are translated by using compensation technique, 15 (3,31%) data are translated by

using amplification technique, 9 (1,99%) data are translated by using particularization

technique, 6 (1,32%) data are translated by using generalization technique, 4 (0.88% )

data are translated by using discursive creation technique, 3 (0.66%) data are translated

by using linguistics compression technique, 2 (0,44%) data are translated by using

adaptation, linguistics amplification, and subtitution technique.

The highest frequency used in Moana Movie Subtitle is a Established Equivalence

technique, because the translator translates the utterances by using a common equivalent

to ease the audience in understanding the intent of subtitle in the film. It can be

concluded that the Established Equivalence technique is the most widely used translation

technique in translating Moana's Utterances found in Moana Movie. Translating the terms

from the source language with terms that are already prevalent in the source language

will make the audience more readily accept or capture the text messages and ideas that

are conveyed in the film.

And then the lowest frequency used in Moana Movie was Adaptation, Linguistics

Amplification, and Substitution translation technique with percentage 0,44%. Adaptation

is a process of translation technique that replaces the distinctive cultural elements in the

41

source language with the existing culture in the target language. Linguistics Amplification

is a process of translation technique that adds linguistic elements of text from source

language in target language text. And last, Substitution is a process of translation

technique that replaces linguistic elements to be paralinguistic (like intonation and signal

or the other way).

5.2 Suggestion

There are several suggestions based on the results of this research that can be

given by the researcher for :

1. The readers who are interested in translation study and want to increase their

knowledge about the translation techniques in the subtitling text of the movie or

some other field related to translation, would comprehend the text before doing

other researches that deal with the translation.

2. Dian Nuswantoro University and especially for the English Department students to use

this thesis as a reference when they are dealing with a research related to the translation

study, especially translation technique. Also this research gives them an image how the

applications of translation technique on subtitling text look like.

3. The next researchers who are interested to analyze another aspects to develop the

research such as comic, article, or other material to use this research as the reference in

doing the translation work.

42

BIBLIOGRAPHY

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Catford, J. C. (1978). A Linguistic Theory of Translation : An Essay in Applied Linguistics.

Cowie, M. (1997). Translating Identities on Stage and Screen : Pragmatic Perspective and

Discoursal Tendencies.

Larson, (1984). Meaning Based Translation : A Guaide to Cross Language Equivalence.

Marshall, C. A. (1995). Designing Qualitative Research. In I. Mevita, Journal Article: Translation Technique Used In Indonesian Subtitle Text of "Finding Nemo" Movie. Semarang: Faculty of Humanities Dian Nuswantoro University.

Molina, L. &. (2002). DTranslation Techniques Revisited: A Dynamic and Functionalist Approach. In Meta, Trasnslator's Journal (Serial online) Vol 47 No. 2.

Mulyani, E. S. (2016). Translation Techniques of Cinderella's Step Sister's Utterance in Cinderella Movie. Semarang: Faculty of Humanities Dian Nuswantoro University.

Munday, J. A. (2004). Translation and Advanced Resource Book.

Newmark, P. (1988). A Text Book of Translation. New Jersey: Prentice Hall.

Nida, E. A. & Taber, C. R. (1974). The Theory and Practice of Translation. Published for the

United Bible Societies by. E. J. Brill.

Nugroho, Raden Arief, et al. (2016). Translation Microstrategies Used by Visually Impaired

Translator in International Journal of English Linguistics. Vol. 6. No.5. P.103. DOI : http :

//doi.org/10.5539/ijel.v6n5p 103.

O'Connell, (2007). Essentials of Autopsy Practice : Innovations, Updates and Advances in

Practice.

Olenka, F. (2014). An Analysis Translation Techniques in The Subtitle of The Movie "5cm". Malang: Faculty of Cultural Studies Brawijaya University.

Putranto, E. H. (2014). Translation Techniques Found in Subtitle Text of "Monster University" Movie. Semarang.

Saleh, R. R. (2013). Translation Techniques Used in Lazy Daze in The Very Besr of Donald Duck Comics 7th Bilingual Edition . Semarang: Faculty of Humanities Dian Nuswantoro University.

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WEBLIOGRAPHY

Adhitoge (2013). Pengertian-Film /2013/09/01/ adhitoge.wordpress.com

Arkinharrys (2014). Teknik-Penerjemahan.html /2014/04/ arkinharrys.blogspot.co.id

Fatchulfkip (2008). What-is-Language-2 /2008/10/24/ fatchulfkip.wordpress.com

Ihsania (2016). Strategi Penerjemahan Menurut Suryawinata dan Hariyanto/2016/02/04/

ihsania.blog.uns.ac.id

Ladysknowledge (2014). Methods-of-Translation-in-Sourche /2014/11

ladyknowledge.blogspot.co.id

Linguistik-penerjemahan (2011). Teknik Penerjemahan /2011/12/12/

linguistik-penerjemahan.blogspot.co.id

Subscene (2016). Subtitles/Moana/English/1508453/ subscene.com

Subscene (2016). Subtitles/Moana/Indonesian/1505490/ subscene.com

Yopi (1987). Teknik-Penerjemahan.html /2013/07/ yopi1987.blogspot.co.id

Culturesconnection. 7-Translation-Techniques culturesconnection.com

Translationjournal. Journal/41culture.html translationjournal.net

44

APPENDIX

Translation Techniques of Moana’s Utterances in Moana Movie

No Utterances Translation

Techniques Source Language Target Language

1 Papa Ayah Established

Equivalence

2 Shoo, shoo! Pergi, pergi! Substitution

3 What? I wanna’s go

back

Kenapa? Aku ingin

kembali

Established

Equivalence

4 I wanna see Aku ingin lihat Literal Translation

5 And no one leaves Dan tak seorangpun

boleh pergi

Amplification

6 Dad! Ayah! Established

Equivalence

7 I was only looking at the

boats. I wasn’t gonna

get on ‘em

Aku hanya ingin

melihat perahunya.

Bukan mau menaikinya

Established

Equivalence

8 We weave our nets

from the fibers

Kita menganyam jaring

dari serabut

Established

Equivalence

9 A real tasty treat inside Isinya sangat nikmat Reduction

10 We sing these songs in

our choirs

Kami menyanyi dalam

paduan suara

Reduction

11 We have mouths to

feed inside

Banyak yang harus

diberi makan

Established

Equivalence

12 That’s right Benar Linguistics

Compression

13 So here I’ll stay Jadi aku akan tetap

disini

Literal Translation

14 My home, my people

beside me and when I

think of tomorrow

Ada rumahku, ada

rakyatku saat aku

memikirkan hari esok

Reduction

15 I’ll lead the way Aku akan memimpin Reduction

16 I’ll have my people to

guide me

Rakyatku akan

membimbingku

Reduction

17 We’ll build our future

together

Kita bangun masa

depan bersama

Reduction

18 ‘Cause every path leads

ya back to…

Karena semua jalan

akan menuntun

kembali pada…

Literal Translation

45



19 You can find happiness

right

Kau akan temukan

kebahagiaan tepat

Established

Equivalence

20 Fixed! Beres! Established

Equivalence

21 Not the fronds Bukan masalah

daunnya

Amplification

22 Wind shifted the post Angin menggeser

tonggaknya

Literal Translation

23 That’s good Pork! Babinya enak! Generalization

24 I didn’t mean… I

wasn’t…

Aku tak bermaksud…

aku tidak…

Literal Translation

25 What? They’re calling

me, so I gotta… Bye!

Apa? Mereka

memanggilku, aku

harus pergi.. Dah!

Literal Translation

26 You’re doing great Kau hebat Reduction

27 So close Sedikit lagi Compensation

28 Sometimes our

strengths lie beneath

the surface

Kadang kekuatan kita

berada dibalik tampilan

luar

Amplification

29 Far beneath in some

cases

Jauh berada didalam Transposition

30 But I’m sure there’s

more to Heihei than

meets the eye

Tapi kurasa banyak

kelebihan Heihei selain

matanya

Pure Borrowing

31 We should clear the

diseased trees and we

will start a new grove

Kita harus

membersihkan pohon

yang sakit dan tanam

yang baru

Reduction

32 There Disana Established

Equivalence

33 Then we’ll rotate the

fishing grounds

Kita ubah posisi

penangkappannya

Reduction

34 Oh. Then we’ll fish the

far side of the island

Berarti kita akan

menangkap ikan lebih

jauh lagi

Amplification

35 The windward side Melawan angin. Established

Equivalence

36 What if we fish beyond Bagaimana jika melaut Adaptation

46



the reef? melewati karang?

37 I know. But if there are

no fish in the lagoon

Aku paham. Tapi jika

tak ada ikan di laguna

Established

Equivalence

38 And there’s a whole

ocean

Laut masih luas Reduction

39 An old rule, when there

were fish

Aturan lama, saat

masih ada ikan

Established

Equivalence

40 But Dad, I… Tapi ayah, aku… Literal Translation

41 I didn’t say go beyond

the reef, because I want

to be on the ocean

Kubilang melewati

karang, bukan karena

aku ingin berada di

lautan

Established

Equivalence

42 I’ve been staring at the

edge of the water

Aku sering menatap

tepian air

Established

Equivalence

43 Long as I can remember Sepanjang yang kuingat Established

Equivalence

44 Never really knowing

why

Tak pernah tahu

penyebabnya

Established

Equivalence

45 I wish I could be the

perfect daughter

Ku harap aku bisa jadi

putri yang sempurna

Literal Translation

46 But I come back to the

water

Tapi aku kembali ke air Transposition

47 No matter how hard I

try

Tak peduli seberapa

keras ku mencoba

Literal Translation

48 Every turn I take, every

trail I track

Tiap tikungan yang

kuambil, tiap jejak yang

kuikuti

Established

Equivalence

49 Every path I make, every

road leads back

Tiap langkah yang

kubuat, semua

mengarah kembali

Transposition

50 To the place I know

where I cannot go

Ke tempat yang tak bisa

kudatangi

Reduction

51 Where I long to be Tempat yang sudah

lama ingin kuberada

Amplification

52 See the line where the

sky meets the sea

Lihatlah garis dimana

langit bertemu laut

Literal Translation

53 It calls me Garis itu memanggilku Amplification

54 And no one knows Dan tak ada yang tahu Established

47



Equivalence

55 How far it goes Seberapa jauh jaraknya Established

Equivalence

56 If the wind in my sail on

the sea stays behind me

Jika angin laut di

layarku mendukungku

Transposition

57 One day I’ll know Suatu hari aku akan

tahu

Established

Equivalence

58 If I go, there’s just no

telling how far I’ll go

Jika aku pergi, takkan

ada yang tahu sejauh

apa aku akan pergi

Amplification

59 I know everybody on

this island

Aku tahu semua orang

di pulau ini

Established

Equivalence

60 Seems so happy on this

island

Terlihat sangat bahagia

di pulau ini

Established

Equivalence

61 Everything is by design Semua punya tujuan Established

Equivalence

62 I know everybody on

this island

Aku tahu semua orang

di pulau ini

Established

Equivalence

63 Has a role on this island Punya peran di pulau

ini

Established

Equivalence

64 So maybe I can role with

mine

Jadi mungkin aku bisa

memulai peranku

Established

Equivalence

65 I can lead with pride, I

can make us strong

Aku bisa memimpin

dengan sahaja, aku bisa

buat kami kuat

Literal Translation

66 I’ll be satisfied if I play

along

Aku akan puas jika

bermusik bersama

Generalization

67 But the voice inside

sings a different song

Tapi suara hatiku

menyanyikan lagu yang

berbeda

Established

Equivalence

68 What is wrong with me Ada apa denganku Established

Equivalence

69 See the light as it shines

on the sea

Lihatlah cahaya yang

bersinar di laut

Established

Equivalence

70 It’s blinding Menyilaukan Linguistic

Compression

71 But no one knows Tapi tak ada yang tahu Established

Equivalence

48



72 How deep it goes Sedalam apa cahaya itu Established

Equivalence

73 And it seems like it’s

calling out to me

Seakan cahaya itu

memanggilku

Reduction

74 So come find me Carilah aku Transposition

75 I have no control over

this condition.

Aku tidak dapat

mengendalikan kondisi

ini.

Transposition

76 What’s beyond the line,

will I cross that line

Ada apa dibalik garis

itu, akankah aku

melewatinya

Reduction

77 The line where the sky

meets the sea

Garis dimana langit

bertemu laut

Literal Translation

78 It calls me Garis itu memanggilku Amplification

79 And no one knows Dan tak ada yang tahu Established

Equivalence

80 How far it goes Seberapa jauh jaraknya Established

Equivalence

81 If the wind in my sail on

the sea stays behind me

Jika angin laut di

layarku mendukungku

Transposition

82 One day I’ll now Suatu hari aku akan

tahu

Established

Equivalence

83 How far I’ll go Seberapa jauh aku akan

pergi

Literal Translation

84 We’re oke, Pua Tenang, Pua Pure Borrowing

85 I can do this Aku bisa Transposition

86 There’s more fish

beyond the reef

Ada banyak ikan di luar

karang

Established

Equivalence

87 There’s more beyond

the reef

Ada banyak di luar

karang

Established

Equivalence

88 Not so bad Lumayan juga Established

Equivalence

89 Pua Pua Pure Borrowing

90 Grandma Nenek Established

Equivalence

91 Are you gonna tell Dad? Nenek akan beritahu

ayah?

Particularization

92 He was right Dia benar Established

49



Equivalence

93 About going out there Soal pergi jauh kesana Established

Equivalence

94 It’s time to put my stone

on the mountain

Sekarang saatnya

meletakkan batuku di

gunung

Established

Equivalence

95 Why aren’t you trying to

talk me out of it?

Kenapa nenek tak

membahas soal itu

denganku?

Particularization

96 It is Memang Modulation

97 Why are you acting

weird?

Kenapa nenek

bertingkah aneh?

Particularization

98 If there’s something you

want to tell me, just tell

me!

Jika ada yang ingin

nenek sampaikan,

katakan saja!

Particularization

99 Is there something you

wanna tell me?

Ada yang ingin nenek

sampaikan padaku?

Particularization

100 What is this place? Tempat apa ini? Established

Equivalence

101 What’s in there? Ada apa di dalam sana? Linguistics

Amplification

102 Bang the drum Bunyikan genderang Established

Equivalence

103 We were voyagers Dulu kita pelaut Established

Equivalence


Equivalence


Equivalence


Equivalence

107 Why’d we stop? Kenapa kita berhenti? Established

Equivalence

108 Our island Pulau kita Established

Equivalence

109 I thought it was a dream Ku kira itu mimpi Established

Equivalence

110 But why would it choose Tapi kenapa lautan Established

50



me? memilihku? Equivalence

111 I don’t even know how

to make it past the reef

Aku bahkan tak tahu

cara melewati karang

Transposition

112 But I know who does! Tapi aku tahu orang

yang bisa!

Literal Translation

113 We can stop the

darkness! Save our

island!

Kita bisa hentikan

kegelapan!

Menyelamatkan pulau

kita!

Literal Translation

114 There’s a cavern of

boats.

Ada gua penuh perahu Established

Equivalence

115 Huge canoes Kuno besar Established

Equivalence

116 We can take them, find

Maui, make him restore

the heart

Kita pakai, menemukan

Maui, suruh dia

kembalikan jantung ini

Pure Borrowing

117 We were voyagers. We

can voyage again!

Dulu kita pelaut. Kita

bisa melaut lagi

Established

Equivalence

118 You told me to help our

people

Ayah suruh aku

menolong rakyat kita

Particularization

119 This is how we help our

people

Inilah cara menolong

rakyat kita

Reduction

120 Dad? Ayah? Established

Equivalence

121 What are you doing? Apa yang ayah lakukan? Particularization

122 No! Don’t! Tidak! Jangan! Established

Equivalence

123 We have to find Maui.

We have to restore the

heart!

Kita harus temukan

Maui. Mengembalikan

jantung ini

Pure Borrowing

124 No! Tidak! Establisahed

Equivalence


Equivalence

126 Not now. I can’t Tidak sekarang. Aku tak

bias

Literal Translation


Equivalence

51



128 I can’t leave you Aku tak bisa

meninggalkan nenek

Particularization

129 See her light up the

night in the sea

Lihatlah dia menerangi

malam di laut

Established

Equivalence

130 She calls me Dia memanggilku Literal Translation

131 And yes, I know Dan aku tahu Reduction

132 That I can go Kalau aku bisa pergi Generalization

133 There’s a moon in the

sky and the wind is

behind me

Ada bulan di langit &

angin mendukungku

Established

Equivalence

134 Soon I’ll know Aku akan segera tahu Established

Equivalence

135 How far I’ll go Seberapa jauh aku akan

pergi

Literal Translation

136 I am Moana of Motunui.

You will board my boat

Aku Moana dari

Motunui. Kau harus

ikut perahuku

Literal Translation

137 Sail across the sea and

restore the heart of Te

Fiti

Melintasi laut dan

mengembalikan

jantung Te Fiti

Reduction

138 I am Moana Aku Moana Established

Equivalence

139 Of Motu Dari Motu Established

Equivalence

140 …nui …nui Pure Borrowing

141 Heihei? Heihei? Pure Borrowing

142 It’s okay. You’re all right Tenang. Kau baik saja Linguistics

Compression

143 See? Lihat? Established

Equivalence

144 There we go. Nice water Bagus. Airnya baik Transposition

145 The ocean is afriend of

mine

Lautan ini temanku Reduction

146 Heihei? Heihei? Pure Borrowing

147 Heihei! Heihei! Pure Borrowing

148 Shut up Diamlah Transposition

149 Okay. Next stop, Maui. Baik. Pemberhentian

berikutnya, Maui.

Established

Equivalence

52



150 I am Moana of Motunui Aku Moana dari

Motunui

Literal Translation

151 You will board my

boat…

Kau harus naik

perahuku…

Literal Translation

152 Sail… across the sea… Berlayar… melintasi

laut…

Established

Equivalence

153 And restore the heart of

Te Fiti

Dan mengembalikan

jantung Te Fiti

Pure Borrowing

154 I am Moana of Motu… Aku Moana dari Motu… Literal Translation

155 Board my boat! Naik perahuku! Established

Equivalence

156 Oh, no. Astaga Discursive Creation

157 No, no, no! Tidak, tidak, tidak! Established

Equivalence

158 Ocean… Lautan… Established

Equivalence

159 Can I get a little help? Boleh minta bantuan? Reduction

160 No, no. Tidak, tidak. Established

Equivalence

161 Please. Kumohon. Established

Equivalence

162 Come on! Ayolah! Transposition

163 Help me! Tolong aku! Established

Equivalence

164 Please! Kumohon! Established

Equivalence

165 What? Apa? Established

Equivalence

166 I said help me! Kubilang tolong aku! Literal Translation

167 And wrecking my boat? Kau malah merusak

perahuku?

Amplification

168 Not helping! Bukan menolong! Established

Equivalence

169 Fish pee in you all day! Kau dikencingi ikan

sepanjang hari!

Amplification

170 So… Jadi… Established

Equivalence

171 Maui? Maui? Pure Borrowing

53



172 Maui! Maui! Pure Borrowing

173 Maui, demigod of the

wind and sea…

Maui, setengah dewa

angin dan laut…

Pure Borrowing


Motunui

Literal Translation

175 You will board my boat Kau harus naik

perahuku

Literal Translation

176 No. You will board my

boat

Tidak. Kau harus naik

perahuku

Literal Translation

177 Yeah. I am Moana of

Motunui

Ya. Aku Moana dari

Motunui

Literal Translation

178 You will board my… Kau harus naik… Reduction

179 Maui, shapeshifter Maui, perubah bentuk Transposition

180 Demigod of the wind

and sea

Setengah dewa angin

dan laut

Transposition

181 I am Moana of… Aku Moana dari… Literal Translation

182 What? Apa? Established

Equivalence

183 I am… Aku… Established

Equivalence

184 What? No! I’m here to… Apa? Tidak! Aku disini

untuk…

Literal Translation

185 You are not my hero Kau bukan pahlawanku Established

Equivalence

186 You are not my hero so

you can sign my oar!

Aku bukan ingin minta

tanda tangan di

dayungku

Reduction

187 I’m here ‘cause you

stole the heart of Te

Fiti!

Aku disini karena kau

mencuri jantung Te Fiti!

Pure Borrowing

188 And you will board my

boat…

Dan kau harus naik

perahuku…

Literal Translation

189 And sail across the sea

and put it back!

Melintasi lautan dan

mengembalikannya!

Transposition

190 Thank you? Terima kasih? Established

Equivalence

191 What? No, no, no! Apa? Tidak, tidak,

tidak!

Literal Translation

54



192 I didn’t… I wasn’t… Aku tidak… aku bukan… Calque

193 Why would I ever say

that?

Kenapa aku

mengatakan itu?

Reduction

194 Hey! Hei! Naturalized

Borrowing

195 Let me out!

You lying, slimy son of

a…

Keluarkan aku!

Kau bohong dasar…

Transposition

196 No! Stop! Tidak! Berhenti! Established

Equivalence

197 Hey! You have to put

back the heart!

Kau harus kembalikan

jantungnya!

Transposition


Motunui

Literal Translation

199 This is my canoe… Ini kano milikku Naturalized

Borrowing

200 And you will journey

to…

Kau harus pergi ke… Reduction


Motunui

Literal Translation

202 Yes Ya Established

Equivalence

203 And you will restore the

heart!

Dan kau harus

kembalikan jantung ini!

Literal Translation

204 What is your problem? Kau ini kenapa? Compensation

205 Are you afraid of it? Kau takut pada ini? Established

Equivalence

206 Get this way? Jauhkan ini? Reduction

207 Come for this? The

heart?

Mengejar ini? Jantung

ini?

Established

Equivalence

208 You mean this heart

right here?

Maksudmu jantung

yang ini?

Established

Equivalence

209 Come and get it! Datang dan ambillah! Established

Equivalence

210 No, I’m gonna get us to

Te Fiti, so you can put it

back.

Tidak, akan kubawa kita

pada Te Fiti,agar

jantung ini bisa kau

kembalikan.

Pure Borrowing

55



211 Thank you. Terima kasih. Established

Equivalence

212 You’re welcome. Sama-sama. Established

Equivalence

213 Kaka what? Kaka apa? Pure Borrowing

214 They’re kinda cute Mereka lucu Reduction

215 Ocean! Lautan! Established

Equivalence

216 Do something! Help us! Lakukan sesuatu!

Tolong kami!

Established

Equivalence

217 I am self-taught Aku belajar otodidak Established

Equivalence

218 Can’t you shapeshift or

something?

Kau tak bisa berubah

atau apapun?

Established

Equivalence

219 Their boat is turning

into more boats!

Kapal mereka jadi lebih

banyak!

Reduction

220 Yep, just did that. Ya, aku baru saja

melakukan itu.

Amplification

221 No, no! Tidak, tidak! Established

Equivalence

222 Heihei! Heihei! Pure Borrowing


224 They took the heart! Mereka merebut

jantungnya!

Established

Equivalence

225 The heart is in the… Jantungnya ada di… Established

Equivalence

226 We have to get him

back!

Kita harus rebut dia

kembali!

Established

Equivalence


228 There! Right there! Di sana! Di sebelah

sana!

Established

Equivalence

229 You’re turning? Kau berbelok? Established

Equivalence

230 What are you doing? Apa yang kau lakukan? Literal Translation

231 The heart! Jantungnya! Established

Equivalence

232 Coconuts. Kelapa. Established

Equivalence

56



233 Got it! Dapat! Transposition


Borrowing

235 Yeah! Ya! Established

Equivalence

236 We did it! Kita berhasil! Transposition

237 No. Have you? Tidak. Kau sendiri? Generalization

238 You’d be a hero. Kau akan jadi

pahlawan.

Literal Translation

239 That’s what you’re all

about, right?

Itulah dirimu, benar? Reduction

240 Maybe you were. Mungkin dulu. Reduction

241 But now… Tapi sekarang… Established

Equivalence

242 Now you’re just the guy

who stole the heart of

Te Fiti.

Kau hanyalah orang

yang mencuri jantung

Te Fiti.

Pure Borrowing

243 The guy who cursed the

world.

Orang yang mengutuk

dunia.

Reduction

244 You’re no one’s hero. Kau bukan pahlawan

siapapun.

Established

Equivalence

245 But… Tapi… Established

Equivalence

246 Put this back… Jika kau kembalikan

ini…

Amplification

247 Save the world… Menyelamatkan

dunia…

Established

Equivalence

248 You’d be everyone’s

hero.

Kau akan jadi pahlawan

semua orang.

Literal Translation

249 You’re so amazing! Kau sangat

menakjubkan!

Established

Equivalence

250 Then we get your hook. Berarti kita cari kailmu. Generalization

251 We get your hook, take

out Te Ka, restore the

heart.

Kita cari kailmu,

mengalahkan Te Ka,

mengembalikan

jantungnya.

Pure Borrowing

252 Unless you don’t wanna

be…

kecuali kau tak ingin

jadi…

Literal Translation

57



253 Maui, demigod of the

wind and sea.

Maui, setengah dewa

angin dan laut.

Pure Borrowing

254 Hero to… Pahlawan… Reduction

255 All… Semua orang… Established

Equivalence

256 Then save the world. Lalu menyelamatkan

dunia.

Established

Equivalence

257 Deal? Setuju? Established

Equivalence

258 Teach me to seal. Ajari aku berlayar. Established

Equivalence

259 My job is to deliver

Maui across the great

ocean.

Tugasku membawa

Maui melintasi lautan

luas.

Pure Borrowing

260 I should… Aku harus… Established

Equivalence

261 I should be sailing. Aku harus berlayar. Established

Equivalence

262 Okay, first, I’m not a

princess

Baik, pertama, aku

bukan putri

Literal Translation

263 I am the daughter of the

chief

Aku putri kepala desa Established

Equivalence

264 No. Tidak. Established

Equivalence

265 If you can talk, you can

teach

Jika kau bisa bicara, kau

bisa mengajari

Literal Translation

266 Wayfinding Mencari arah Transposition

267 Lesson one. Hit it Pelajaran pertama,

mulai

Transposition

268 It’s cold Dingin Reduction

269 Wait, it’s getting

warmer

Tunggu, makin hangat Established

Equivalence

270 That is disgusting! What

is wrong with you?

Itu menjijikkan! Kau ini

kenapa?

Established

Equivalence

271 We’re here? Kita samapi? Established

Equivalence

272 See, told you I could do

it!

Lihat, ku bilang aku

bisa!

Transposition

58



273 Motunui? Motunui? Pure Borrowing

274 I’m home? Aku pulang? Established

Equivalence

275 Dad? Ayah? Established

Equivalence

276 Mom? Ibu? Established

Equivalence

277 No! Tidak! Established

Equivalence

278 You’re sure this guy’s

gonna have your hook?

Kau yakin orang ini

menyimpan kailmu?

Transposition

279 And he lives up there? Dia tinggal diatas sana? Reduction

280 Lalotai? Lalotai? Pure Borrowing

281 Realm of monsters? Dunia para monster? Established

Equivalence

282 We’re going to the

realm of monsters?

Kita menuju dunia

monsters?

Established

Equivalence

283 My people didn’t send

me.

Rakyatku tak

mengirimku.

Established

Equivalence

284 The ocean did. Tapi lautan. Generalization

285 It chose me for a reason Lautan memilihku

karena suatu alasan

Established

Equivalence

286 The ocean chose you for

a reason.

Lautan memilihmu

karena suatu alasan.

Literal Translation

287 So, not seeing an

entrance.

Aku tidak melihat ada

pintu masuk.

Compensation

288 You can do this Kau bisa Transposition

289 Go! Lompat! Discursive Creation

290 Maui’s fishhook! Kail milik Maui! Established

Equivalence

291 Sorry! Maaf! Established

Equivalence

292 I thought you were a

monsters…

Ku kira kau monster… Reduction

293 But I found your hook. Tapi kutemukan kailmu. Established

Equivalence

294 And, you’re right, this

Tamatoa guy really likes

Kau benar, si Tamatoa

suka sekali hartanya.

Pure Borrowing

59



his treasure.

295 What? No.

i’m the one who found…

Apa? Tidak.

Aku yang temukan…

Reduction

296 Wow! Waaw! Naturalized

Borrowing

297 The shiny, glittery cave Gua yang berkilau,

gemerlap

Established

Equivalence

298 And just like me… Sama sepertiku… Reduction

299 It is covered in sparkly

treasure.

Gua ini diselimuti harta

yang berkilau.

Established

Equivalence

300 Sparkle, sparkle, sparkle Berkilau, berkilau,

berkilau

Established

Equivalence

301 This is stupid!

I’m just gonna walk up

and get it.

Ini bodoh!

Aku ke atas saja dan

mengambilnya.

Established

Equivalence

302 You two must get along

swell

Pasti dulu kalian sangat

akrab

Transposition

303 You rapped off his… Kau melukai… Reduction


305 Don’t! that’s my

grandma’s!

Jangan! Itu milik

nenekku!

Established

Equivalence

306 ‘Cause you’re amazing! Karena kau luar biasa! Established

Equivalence

307 ‘Cause you’re amazing! Karena kau luar biasa! Established

Equivalence

308 And we mortals have

heard of the tale of the

crab who become a

legend!

Kami para manusia

mendengar cerita

kepiting yang jadi

legenda!

Particularization

309 And I just had to know… Dan aku harus tahu! Reduction

310 How you become so… Bagaimana kau jadi… Established

Equivalence

311 Crabulous? Kepiting yang hebat? Transposition

312 Huh? Apa? Discursive Creation


Borrowing

314 I got something shiny

for you

Aku punya sesuatu

yang berkilau untuk mu

Established

Equivalence

60



315 We gotta go! Kita harus pergi! Literal Translation

316 He can have it. I’ve got a

better one.

Dia boleh memilikinya.

Ak punya yang lebih

bagus.

Established

Equivalence

317 We’re alive! Kita masih hidup! Established

Equivalence

318 No, no. No way! Tidak, tidak. Tidak

mungkin!

Established

Equivalence

319 What? Do you have a

shark head?

Apa? Kau berkepala

hiu?

Established

Equivalence

320 It’s not cursed. Misi ini tidak dikutuk. Compensation

321 It is not cursed. Misi ini tidak dikutuk. Compensation

322 Can you at least try? Setidaknya bisakah kau

mencobanya?

Established

Equivalence

323 All right, break time’s

over.

Waktu istirahat habis. Reduction

324 Get up. Bangun. Transposition

325 How do you get your

tattoos?

Bagaimana kau

dapatkan tatomu?

Naturalized

Borrowing

326 How’d you earn that

one? What’s that for?

Bagaimana kau

dapatkan tato itu? Itu

tato apa?

Compensation

327 What’s Nunya? Apa itu Nunya? Pure Borrowing

328 I’ll just keep asking. Aku akan terus

bertanya.

Established

Equivalence

329 What’s it for? Itu tato apa? Compensation

330 Just tell me what it is. Beritahu aku. Reduction

331 Is it why your hook’s not

working?

Itukah sebsb kailmu tak

berfungsi?

Established

Equivalence

332 You don’t wanna talk,

don’t talk.

Jika tak ingin bicara,

maka jangan bicara.

Compensation

333 You wanna throw me

off the boat…

Jika ingin

melemparkanku dari

perahu ini…

Compensation

334 Throw me off Lemparkan saja Transposition

335 You wanna tell me I

don’t know what I’m

doing…

Kau ingin bilang aku tak

tahu yang kulakukan…

Reduction

61



336 I know I don’t Memang aku tak tahu Amplification

337 I have no idea why the

ocean chose me.

Entah kenapa lautan

memilihku

Transposition

338 You’re right Kau benar Reduction

339 But my island is dying… Tapi pulauku sekarat… Established

Equivalence

340 So I am here. Itu sebabnya aku disini Amplification

341 It’s just me and you Disini hanya ada kau

dan aku

Compensation

342 And I want to help Aku ingin membantu Reduction

343 But I can’t ifyou don’t

let me

Tapi aku tak bisa jika

kau tak mengizinkanku

Literal Translation

344 You took the heart for

them

Kau mencuri jantung itu

untuk mereka

Literal Translation

345 You did everything for

them

Kau lakukan segalanya

untuk mereka

Literal Translation

346 So they’d love you Agar mereka

mencintaimu

Established

Equivalence

347 Maybe the gods found

you for a reason

Mungkin dewa

menemukanmu karena

sebuah alasan

Literal Translation

348 Maybe the ocean

brought you to them

Mungkin lautan

membawamu pada

dewa

Compensation

349 Because it saw someone

who was worthy of

being saved

Karena melihat

seseorang yang layak

diselamatkan

Established

Equivalence

350 But the gods aren’t the

ones who you make

Maui

Tapi bukan dewa yang

jadikan dirimu Maui

Pure Borrowing

351 You are Dirimu sendiri Established

Equivalence

352 Yeah! Ya! Naturalized

Borrowing

353 Next stop, Te Fiti Pemberhentian

berikutnya, Te Fiti

Pure Borrowing

354 What? Ada apa? Linguistics

Amplification

62



355 That is literally the

nicest thing you’ve ever

said to me.

Itu hal termanis yang

pernah kau ucapkan

padaku.

Transposition

356 Probably should have

saved it for Te Fiti

Mungkin harus kau

simpan untuk

Pure Borrowing

357 Go saved the world Pergilah selamatkan

dunia

Established

Equivalence


359 Finding you a better

way in!

Mencarikan jalan

masuk yang lebih baik!

Reduction

360 Yes, we will! Pasti berhasil! Compensation


Equivalence


Equivalence

363 Are you okay? Kau bai saja? Established

Equivalence


365 I thought we could

make it

Ku kira kita bisa

melewatinya

Literal Translation

366 I thought I could make it Ku kira aku bisa

melewatinya

Literal Translation

367 We can fix it Kita bis

memperbaikinya

Literal Translation

368 Next time we’ll be more

careful

Lain kali kita akan lebih

hati-hati

Established

Equivalence

369 Te Ka was stuck on the

barrier island

Te Ka terjebak di pulau

pembatas

Pure Borrowing &

Reduction

370 It’s lava, it can’t go in

the water

Dia lava, tak bisa

menyentuh air

Pure Borrowing

371 We can find a way

around

Kita bisa temukan jalan

lain

Compensation

372 We still have to restore

the heart

Kita masih harus

kembalikan jantungnya

Literal Translation

373 Maui, you have to

restore the heart

Maui, kau harus

kembalikan jantungnya

Pure Borrowing

374 That’s not true Itu tak benar Established

Equivalence

63



375 We are only here… Kita ada disini… Established

Equivalence

376 Because you stole the

heart in the first place

Karena dulu kau

mencuri jantungnya

Reduction


Motunui

Literal Translation

378 You will board my

boat…

Kau harus naik

perahuku…

Literal Translation

379 Sail across the sea Melintasi lautan Reduction


Te Fiti

Dan mengembalikan

jantung Te Fiti

Pure Borrowing

381 The ocean chose me! Samudra memilihku Established

Equivalence


383 Why did you bring me

here?

Kenapa kau

membawaku kesini?

Established

Equivalence

384 I’m not the right person Aku bukan orang yang

tepat

Established

Equivalence

385 You have to choose

someone else

Kau harus memilih

orang lain

Established

Equivalence

386 Choose someone else Kau harus memilih

orang lain

Established

Equivalence

387 Please Kumohon Discursive Creation

388 No Tidak Established

Equivalence

389 Grandma? Nenek? Established

Equivalence

390 Grandma! Nenek! Established

Equivalence

391 I tried, grandma Sudah kucoba, nek Amplification

392 I couldn’t do it Aku tak bisa

melakukannya

Literal Translation

393 I don’t know Entahlah Transposition

394 Who I am? Siapa aku? Established

Equivalence

395 I am a girl who loves my

island

Aku gadis yang

mencintai pulauku

Established

Equivalence

64



396 And the girl who loves

the sea

Dan gadis yang

mencintai laut

Literal Translation

397 It calls me Laut memanggilku Compensation

398 I am the daughter of the

village chief

Aku putri kepala desa Reduction

399 We are descended from

voyagers

Kita keturunan pelayar Reduction

400 Who found their way

across the world

Yang menemukan cara

melintasi dunia

Established

Equivalence

401 They call me Mereka memanggilku Literal Translation

402 I’ve delivered us to were

we are

Aku telah membawa

kita pada jati diri kita

Established

Equivalence

403 I have journeyed father Aku telah pergi lebih

jauh

Literal Translation

404 I am everything I’ve

learned and more

Aku dibentuk dari

pengalaman yang

kupelajari dan banyak

hal

Established

Equivalence

405 Still it calls me Suara itu masih

memanggilku

Compensation

406 And the call isn’t out

there at all

Panggilannya bukan

dari luar

Reduction

407 It’s inside me Tapi dalam hatiku Compensation

408 It’s like the tide Seperti gelombang

pasang

Compensation

409 Always falling and rising Selalu turun - naik Substitution

410 I will carry you herein

my heart

Aku akan selalu

mengingatmu dalam

hatiku

Established

Equivalence

411 You remind me Kaulah yang

mengingatkanku

Established

Equivalence

412 That come what may Apapun yang terjadi Established

Equivalence

413 I know the way Aku tahu jalannya Established

Equivalence

414 I am Moana Aku Moana Established

Equivalence

65




Motunui

Literal Translation

416 Aboard my boat Menaiki perahu Established

Equivalence

417 I will sail across the sea Aku akan melintasi

lautan

Established

Equivalence


Te Fiti

Dan mengembalikan

jantung Te Fiti

Pure Borrowing

419 Te ka can’t follow us

into the water

Te ka tak bisa

mengikuti kita dalam

air

Pure Borrowing

420 We make it past the

barrier island…

Jika bisa melewati

pulau pembatas

Compensation

421 We make it to Te Fiti Kita akan sampai pada

Te Fiti

Pure Borrowing

422 None of which you

understand…

Kau takkan mengerti… Reduction

423 Because you are a

chiken

Karena kau ayam Established

Equivalence


Equivalence

425 Heihei! No, no, no! Heihei! Tidak, tidak,

tidak!

Pure Borrowing

426 Nice work! Bagus! Transposition

427 Te Fiti Te Fiti Pure Borrowing


429 You came back Kau kembali Transposition

430 But your hook? Tapi kailmu? Established

Equivalence

431 One more hit and … Satu hantaman lagi,

maka …

Compensation

432 Maui Maui Pure Borrowing

433 Thank you Terima kasih Established

Equivalence

434 Te Fiti… Te Fiti… Pure Borrowing

435 It’s gone Menghilang Reduction

436 Let her come to me Biarkan dia datang Literal Translation

66



padaku

437 I have crossed the

horizon to find you

Aku melintasi

cakrawala untuk

menemukanmu

Adaptation

438 I know your name Aku tahu namamu Established

Equivalence

439 They have stolen the

heart from inside you

Mereka mencuri hati

dalam dirimu

Established

Equivalence

440 But this does not define

you

Tapi bukan ini yang

menentukan dirimu

Established

Equivalence

441 This is not who you are Ini bukanlah dirimu Reduction

442 You know who you are Kau tahu siapa dirimu Calque

443 Who you truly are Dirimu yang sejati Reduction

444 Te Fiti! Te Fiti! Pure Borrowing

445 I’m sorry about your

hook

Aku turut bersedih soal

kailmu

Compensation

446 You know, it’d be rude

to refuse a gift from a

goddes

Sungguh tak sopan jika

menolak pemberian

dewi

Compensation

447 You could come with us,

you know

Kau boleh ikut kami Reduction

448 My people are going to

need a master

wayfinder

Rakyatku butuh ahli

penunjuk arah

Established

Equivalence

449 See you out there, Maui Sampai jumpa, Maui Transposition

450 Mom! Dad! Ibu! Ayah! Established

Equivalence

451 I may have gone a little

ways past the reef

Mungkin aku pergi

sedikit melewati karang

Established

Equivalence

452 Pua! Pua! Pure Borrowing

Date post:	29-May-2019
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